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To find someone willing to play with our work: This was precisely our hope. A hope that could not be met in a better way.
In the intriguing integrations that Maxwell Sucharov has put forward, the readers will find a masterful job of grasping and elucidating what in our “tapestry” was at risk of getting lost in the cracks of the plaster. However, it would be reductive if we considered Maxwell's comments just as a masterly restoration work. In fact, his swift paint strokes create new light strokes and provide the whole picture with a dimension of absolute precision. His words give life to a new geography of the very same world that we portray and describe in our article. His synthesis about the process of image subjectification is embedded in a careful exploration of the different levels implied and their interconnections, and it allows the reader to identify the internal pathways leading to the major theme of the article: agency and its possible forms.
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Let us just say a couple of words about the in-depth explorations and excellent expansions that are threaded throughout Sucharov's comment.
The “hauntingly similar” that he seizes between Fonagy et al.'s (2003) work and ours testifies to a community of intentions that is translated into the inquiry of “the relational conditions that allow for a new perspectival truth to emerge as a lived reality for both participants” (p. 72) and in the constant quest for what promotes “the condition of possibility of that representation: that is, the evolution of the “self as agent” (Fonagy et al., 2003, p. 412). The plastic nature of such complex processes requires us all to highlight the different nuances that we can see. What Sucharov emphasizes as our particular way to understand marking is precisely one of these nuances generated by the process of image subjectification.
Sucharov's expansion o