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The invention of Dédalo was effective; Father and son were able to get out of his jail and fly towards his freedom but an unexpected tragedy happened: the young Icarus, excited about that faculty of flying newly inaugurated, rose relying towards the sun what his father had warned him as dangerous because the heat It would melt the wax and the Icaro feathers would be abysed over the sea from the heights of his desire, the vanity of his unconscious senior, although naive, is a precedent of the fallen angel, that a favorite angel of the divinity that later It becomes the damn and as Milton sings in her paradise lost by her pride falls thrown from heaven with all her hosts of rebel angels to never return to him where your winged beings, Jorge, so absorbed in his contemplation? To the empire power, like Milton’s fallen angel? Slower the looks of him and, blaspheme, fixes them in the empirement, reflecting in him the deeper pain, the greatest consternation, the Soberbia Fadesta and the most stubborn hatred or are like winged daffodils, in love melancholy? In the most popular version of the myth, Narciso is observed himself in the water mirror, creating another, and sees that this one observes him in turn, falling in love. But there is another version say older than the myth of which Pausanias writes: Narciso had a sister who drowned drowned in a lake. It was such the love that he felt for her that every afternoon he approached the lake to console himself with the memory of her. One day, thanks to certain reflective conditions of the water mirror, he believed to see someone on the specular surface was his beloved sister! that seemed to want to arise from the waters of Lake Narciso spoke with her, she even seemed that she also answered by moving her lips even in silence one of the versions tells that Narciso drowned out at the lake to try to free her sister from that lake ; another says that every afternoon narcissus returned to the lake to see if he reproduced the miracle of the appearance of the crying sister of him what he did not know Narcissus is that he and his sister were twins 196

Fraternal love, compassion and empathy, sentimental melancholy, what does the mirrors teach us? I believe that Jorge Marín’s mirrors, the works of him looking at himself and contemplated in the mirrors, do not do it by simple narcissism (in his most conventional meaning) but for other reasons, with other intentions. Perhaps the versions rescued by Pausanias give us the key, the sense of alleged self-consciousness our perception of the world requires a spectator to authenticate it and with it all our meanings impregnated with subjective experiences and experiences-with-others the other, the others, Being located in this same world as me, by incarnating it as I, becomes my accomplices, even in an extension of myself, to perceive the complexity of the world. Me, perceiving, I am an expanded I am in the others, through the others this is neither more nor less what we experience in the mirror when you feel multiplied next to Jorge’s sculptures I was referring to the French philosopher Merleau-Ponty when drinking As a starting point, the study of perception comes to recognize that its own body is more than one thing, something more than an object to be studied by science; It is also a permanent condition of existence. Perception in Merleau-Ponty is something alive beyond the purely physiological and sensory, by which man is in a continuous relationship with the perceived and the others. The philosopher affirms that sensitivity is the product of a particular attitude of curiosity or observation, a questioning what I see exactly, questioning me in the others, instead of abandoning me to the unique answer of my senses perceiving, I also question my senses, metamorphoses in my be existential in each situation. The situation is the gear of every human relationship with space, so we must understand any experience of my being with the other as an always spatial action. To the extent that the space is thus building every day, my-being-in-the-world-with-others is plotting from threads of tissue perception continuously is what I have attempted by telling my experiences, Confessing my evocations, in this long trial on the works of Jorge Marín. The language of course is also an element of barter by which we perceive the world and we share it, as our own body Jorge speaks through the works of him, the volumes and images of him; I do it with words that want to be specular reflections of them readers reflect in their pupils, in their convex mirrors, my words and sculptures of Jorge Marín all of us the artist, his creatures, his spectators, myself, his interpreter we are tangled Happily at this art festival. Something so decidedly nihilist, although it seems paradoxical. Share the act of creating S