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Our prereflexive consciousness has become reflexive, and whereas in the first case, the self in the viewing experience was implicit to the point of obliviousness, which is itself a scale of experience which science and philosophy fail to track satisfactorily, the viewing self im- perceptibly mutates into the self viewed and appears to find a doppelgänger in the painting, in the sense that the painting-in-a- painting is itself a doppelgänger.
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.
Note that this common description of prereflexive consciousness assumes its presence with higher-order attention or focus, in other words, it
Thus, as in Sartre's schema, prereflexive consciousness becomes the object of reflexive conscious- ness, and the configuration can appear as one state of seeing through, where one is both out there in the frame while standing before it looking in.
This may come close to describing in the art experience prereflexive consciousness but it hardly distinguishes it from simple reflexive consciousness.
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