From The Philosopher, Volume LXXXX No. 2 Autumn 2002
THE MIRROR AND I
By Francisco Umpiérrez Sánchez
Artists prefer palpable objects to conceptual ones.
The reason for this stems from the fact that the former may be seen,
heard and touched, whilst the latter may only be thought about. But artists
do not show an interest in palpable objects in the same way that practical
people far removed from transcendental considerations do, but rather seek
in them the beauty of their form and their profound human meaning. In this
sense, they have more in common with philosophers, who capture the profound
nature of the world through concepts, than with the practical man who is
content with the outer and superficial aspect of things. The six thoughts
that I shall today present to the reader for their consideration are aimed
especially at artists, to show them how something as simple and universal
as the relationship between oneself and the mirror hides marvellously dialectical
conceptual secrets.
First thought. When one positions oneself in front
of a mirror, an act that we perform every morning, one sees oneself reflected
in the same. But if one sees oneself in the mirror, it is because one is
in the mirror. Therefore, I am not one, as I first believed at the start
of this thought, but two: on the one hand, I am me in myself, outside of
the mirror, and on the other, I am me in another, in the mirror, outside
of myself. This is the first conceptual secret that I discover in this
experience: that I do not only exist in myself, but also exist outside
of myself.
Second thought. When I exist outside of myself,
I do not only exist in the mirror, but also in the retina of the people
that see me, in the photographs of relations that remember me and in the
consciousness of friends in whose dreams I appear. Therefore, I in myself
am one, but outside of myself, I am many. This is the second conceptual
secret that I discover in this experience: that I multiply myself, that
one becomes many.
Third thought. If tomorrow, by a simple stroke
of fate, I were to die, I in myself would no longer exist, but outside
of myself I would remain in existence: in photographs, in the dreams of
the living, and in wax or marble if, with the passing of time, society
should wish to erect a statue of me. Therefore, I in myself am transitory,
but outside of myself I become eternal. This is the third conceptual secret
that I discover in this experience: that that which is fleeting becomes
eternal.
Fourth thought. I, in myself, am not as I am outside
of myself: in myself I am body and I am appearance, but outside of myself,
in the mirror, I am solely appearance. The first and second thoughts gave
me the immense joy of recognising that I existed and multiplied myself
outside of myself, but now I am surprised to find out that when this occurs,
when I exist outside of myself, I experience the loss of my much craved
body. This is the fourth conceptual secret that I discover in this experience:
that we lose the body when we come to exist outside of ourselves.
Fifth thought. The man in the mirror, who until
now had remained silent, takes his turn to speak: it is natural and understandable
that you are concerned about the fate of your body, given that you are
finite and fear death, but for me such a worry does not exist. I know that
I need a body in which to exist, but it is immaterial to me which body
this is: it may be your body of flesh and bone, the glass in the mirror
or a piece of marble.
Therefore, I am always one and the same, whilst my bodies
are many and various.
This is the fifth conceptual secret that I discover in
this experience: if in the second thought my body was one and my appearance
was multiple, in this fifth thought the situation is reversed: my appearance
is one and the body is multiple.
Sixth thought. In this last thought, the man in
the mirror takes the initiative once more: 'You believe that your body
is the true substance and subject of this process and that your appearance
is nothing more than one of your features or attributes, in the same way
as your weight or your speech. But you are mistaken: the true substance
and subject of this process is me, your appearance, whilst your body is
nothing more than one of your features or attributes in the same way as
the glass in the mirror or the piece of wax or marble'. This is the sixth
and last conceptual secret that I discover in this experience: that the
subject becomes an attribute and the attribute the subject.
Address for correspondence:
Francisco Umpiérrez Sánchez
(Director of Cekam)
Las Palmas
email: <fumsa@msn.com>
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