In the ordered spaces of western iconographies, the fascination accrued by the vanishing point is evidenced not only in applying the traditional laws of perspective, but also, for instance, in the disciplinary structures of the Panopticon, and even, as a strong grabbing attention detail, in Barthes' concept of punctum.
There is, it is said, a linen that covers the phantasmagoric visions of the laws of the gaze.
This cover has attributes that point to the organizing structure of the apparently seen. A returning landscape made by a seamless connection of Rembrandt's etchings establishes a center. We direct all our attention to it.
Let us consider, for a moment, how many things manifest themselves on the side of the apparently seen. Verging on the vanishing, however, they hold, in all their efforts, no physical reality.
Ghosts, let me tell you, are definitely things of the past.