Already in 1929, Walter Benjamin described "a one hundred per cent image-space." Such an image space saturates our world now more than ever, constituting the visibility in which we live. analyzes this space and the icons that populate it as the culmination of a history of the circulation and general commodification of images and gazes. From the first elevators and escalators (tracking shots ) to cinema (the great conductor of gazes), all the way down to contemporary eye-tracking techniques that monitor the slightest saccades of our eyes, Peter Szendy offers an entirely novel theory of the intersection of the image and economics.