本文旨在探討圖像與語言的差異與斷裂和視覺傳達之間的關係，主要來自對傅柯(Michel Foucault, 1926-1984)三部著作的閱讀：《這不是一支煙斗》(This Is Not a Pipe1)，《詞語物：人文科學考古學》(The Order of Things: An Archaeology of the Human Sciences2)與《臨床醫學的誕生：醫學認知考古學》 (The Birth of the Clinic: An Archaeology of Medical Perception 3)。從圖像與語言的間隙問題，推演視覺傳達創意生產狀態及力量來源的可能性。全文分四個部份：一、關於想像癱瘓與指定命名。引用傅柯對語言指定破壞想像力的觀察，論述視覺傳達的必然開放性和溝通的侷限性，與視覺傳達簡單至上原則的不簡單狀態；二、中介區域與自我生成。從傅柯提出生活實務和理論或詮釋之間的中介區域，聯想語言與圖像間的鬆動與遲滯對生成帶來的某種可能；三、指示阻絕與某種表達。指出語言指示與圖像間無法縫合的裂縫所帶來的如夢般的想像空間；四、圖像派生與類操作。推論視覺傳達圖像與語言難以辨識的接收與捕獲機制所存含的自我派生與強度。本文藉由傅柯對於語言與圖像創意生成關係的觀察與推演，以雷內．馬格利特 (Rene Magritte, 1898-1967)作品所派生出的兩項近年作品為例，推論想像力與視覺傳達對創意生產的某種「類操作」面向。

This paper aims to explore the differences and fractures between lingual and visual forms of conveying thought, extending to the possibilities of visual material expressing inspiration and the question of its origins and power. The main material of this paper is derived from three of Michel Foucault's works: This Is Not a Pipe, The Order of Things: An Archaeology of the Human Science and The Birth of the Clinic: An Archaeology of Medical Perception. The whole paper consists of four topics. 1. The paralysis of imagination and proper names. Discussing the necessity of openness in visual communication and confinement in lingual communication, also covering the visual communication’s principle "simple is best" and why it is not so. 2. Intermediary domain and self-generation. Pointing out the laxity and arrears between language and visual expressions and their possibilities. 3. Obliterating proper names and another sort of expression. Indicating the immense abyss between words and pictures, and the dream-like space within it. 4. Image derivation and quasi operation. Discovering the strength of self-derivation within the difficulties of discerning and identifying in lingual communications. Usigns derived from Rene Magritte’s paintings as examples, this paper explores the areas concerning imagination and visual communication and its correlation with quasi operation within Foucault's works.