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فلسفه::
شیءانگاری
Both pre-reflexive and reflexive modes are involved in the art experience with the picture-in-the-picture, which demonstrates that the objectification process in objectifying self-consciousness can be more complex than a fixed statement of identification It is possible to have a non-objectifying self-conscious- ness in cooperation, or indeed in consonance with a self-objectifying object, for example, an actor's rendition of the actor in Hamlet for example, in the play within the play, or in a film of Hamlet, or indeed in Shakespeare's text, or in Pirandello's Sei Personaggi or a painting of the play within the play.
On the level of prereflexive consciousness the experience of the frame-in-the-frame in painting, film or theatre is not, strictly, objectification, yet from the observer's point of view and from the point of view of self-reflexive or higher-order consciousness it might seem that way.
The image becomes the effect of the image, which amply describes the reciprocity and co-emergence of meaning in the world and in our subjective self-giveness without any objectification in a singular, simplistic sense taking place.
versible (that the world perceives me and this is also part of my perception), it is also important that this radically changes our conception of objectification as something that happens towards the object and through it back to me.
It is clear that the process of objectification itself should come under radical revision in light of these interpenetrative concepts of co-emergence and framing, at least in the sense that the object of objectification (framing) is also the process of becoming an object, and may also be part of the process of the subject becoming vis-à-vis the object.
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