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case is outside the language game, because power efficiency is completely determined by the risk of destruction of the partner, not the best, compared to a "reception". Whenever the performance, i.e. the desired effect is achieved by "Say or do, otherwise shut up forever", we are in a region of terror, where the social bond is destroyed.
It is unknown where he came from. We can assume that wandering arounda maze of corridors, he passed by the room where there are alreadythe known person and the artist works; it is possible that he also justthat was in the foreground of the scene, in the invisible part, which contemplateall present in the picture. As the images in the depth of the mirrors, hemay be the messenger of this obvious and hidden space. Andthere is one difference: he is here himself; heoriginated from the outside, on the threshold of the depicted space; it is obvious-it's notpossible reflection and the intrusion of reality. The mirror, allowingto see what is happening in front of the painting and even outside the workshop, causesthe harmonic movement between the outer and inner the connecting axis.One foot on the step, the body completely in this profile -- inconceivablethe stranger froze in equilibrium, momentarily interrupting the movementinward or outward. Staying in place, he repeats the real and darkamounts of your body an instant move, crossing the room,penetrating in the mirror, the reflected in and projected back in the form ofvisible, a new, identical entity. Those pale, tiny silhouettes in the mirror contrasted with the tall, strong figure of a man emerged inthe doorway.
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