When I got back to Mexico a few weeks ago after spending two months in the states, I realized something. During the transition from the US to Mexico, or vice versa, I have the habit of lingering for a while in the place I've just left via internet media. It can last for quite some time. And there's something slightly unsettling about this– disorienting– and for a while, I'm not quite sure where I am. It's as if there's an afterimage of one place floating on top of the other. The transporter on the Star Trek mission didn't quite beam me up [Scotty], properly? I'm neither here nor there, but somewhere in between. At times, I feel like a molecular mess.
This particular aspect of the Parallax Universe, or being Everywhere At Once, is as challenging as it is illuminating. Of course, right now it's hard to ignore what's happening in the US, regardless of where on earth you happen to be. So my sense of being here and there at the same time, may be more pronounced than usual.
But in general, during these transitional phases, it's as though the shape of my life resembles a sphere whose circumference is everywhere and center nowhere; a mirror of the virtual space we experience through the internet– in cyberspace. Is this an example of life imitating technology? It brings a certain amount of angst into the mosaic of my life, and at times feels like an existential, adolescent identity crisis. But it also gives me a sense of freedom, and a broad cultural, experiential scope I like to think is a truer, more realistic, global picture of the world.
"Truth is so great a thing," wrote Montaigne in his essay Of Experience, "that we must not disdain any medium that will lead us to it...there is no quality so universal as diversity and variety."
To give you a better idea of what I'm talking about, the day before I left Mexico for New York, I visited the Soumaya Museum in Mexico City, http://www.soumaya.com.mx/BoletinesPrensa/PlazaCarso/MSPC_presskit.pdf built by Mexican Billionaire, Carlos Slim to showcase his collection. Though the collection might benefit from some curatorial assistance, the building itself is a dazzler and worth the visit. It's a torqued cube, with a Gehry-esque, metallic, fish-scale skin, designed by Slim's son-in-law who cut his teeth working for Rem Koolhaas. Then, the following day in New York, I saw an exhibition of drawings by Richard Serra at the Metropolitan Museum of Art http://www.metmuseum.org/special/serra_drawing/images.asp , all in black oil stick, monumental silences, transcendent, profound stillness. Later that evening, I attended a lecture at The Queen Sofia Spanish Institute, http://www.spanishinstitute.org/ in celebration of Hudson Review's Spanish Issue– a panel discussion on translation. Most speakers touched upon the topic of the Anglo perception of the Hispanic world, hispanophobia, and the paucity of Spanish language literature translated into English.
That brief span of time was a sort of hypertext experience, where one thing linked, and opened up to another like Jorge Luis Borges' weirdly prescient vision of digital media and the internet in his story The Garden of Forking Paths, http://en.wikipedia.org/wiki/The_Garden_of_Forking_Paths where he envisions "a labyrinth that folds back upon itself" ad infinitum and asks the reader to "become aware of all the possible choices we might make." All this suggests a way of seeing, an expansive, dynamic perception. And it's not just Borges' vision. Recent comment from a long-lost, high-school friend found through Facebook, cited James Joyce's Ulysses and Bloom's preoccupation with all things scientific including the parallax effect; a mind that perceives objects (phenomena) from at least two points of view. In this case the object is the self– the writer– and hopefully the reader too.
-PHA
