Issue 37: What We Are, What We Try to Be

On the distance between survival and imagination

GALERIA LOCAL

by Jorge Silva

Welcome — and thank you for reading.

I have recently restarted reading The Penguin History of the World by J. M. Roberts. Over the next issues, I will work on extracting and develop ideas from that reading in the same way I have been doing with my ongoing exploration of the history of philosophy through Nicola Abbagnano. I am interested in following the questions and tensions they trigger: the relation between survival and abstraction, between inherited structures and imagination, between what we are and what we attempt to become.

At some point, all of this inevitably returns to photography — to framing, memory, perception, and the ways human beings construct continuity across time.

This week’s essay moves through some of these ideas. It reflects on the strange condition of a being capable of projecting itself beyond its immediate reality while remaining constrained by instincts, history, and biological inheritance. A being that transforms the environment continuously, accumulates knowledge across generations, and builds increasingly complex systems, yet never fully escapes the tension between its past and its aspirations.

In parallel, Narrative Layers continues my return to the Estrada Real project, now revisiting the urban centres of the Setúbal district. This week’s chronicle takes place in Afonsoeiro, in the municipality of Montijo, and circles around one of those small encounters that gradually begin to reveal the atmosphere of a place: an old dog barking from behind a gate, a conversation carried across generations, and the strange familiarity that sometimes emerges between people and animals.

—Jorge

What We Are, What We Try to Be

There is a point, somewhere in the long arc of prehistory, where the human being becomes visible not as a creature among others, but as a tension. It is not marked by a tool, or by fire, or by the first drawing on a cave wall. It is marked by something less visible: the distance between what we are and what we try to be.

Much of what we know about early humans comes to us as fragments—bones, tools, traces of fire, pigments on stone. From these fragments, we construct narratives. We infer intention, we project meaning, we imagine structure. It is tempting to see a steady progression: from simplicity to complexity, from instinct to reason, from nature to culture. But this progression is not smooth. It is held together by a contradiction that does not resolve.

We are shaped by a biological inheritance that we did not choose. Our bodies, our instincts, our emotional patterns—these are the result of processes that precede us by hundreds of thousands of years. They are shaped for survival within specific conditions that no longer exist in the same form. And yet, within this structure, something emerges that attempts to exceed it. It does not replace it. It moves within it.

We plan. We abstract. We imagine futures that are not yet real and act in anticipation of them. The earliest farmers planted seeds in anticipation of what was not yet there, holding in mind a sequence of events that would unfold over time. In doing so, they acted on something invisible. This capacity—to act not only in response to what is present, but in relation to what is possible—marks a decisive shift. It is not a departure from our nature, but an extension that never fully detaches from it.

The more we extend ourselves outward, the more this tension becomes apparent. We learn to control our environment with increasing precision. We cultivate land, domesticate animals, construct systems of exchange, develop tools that amplify our reach. We store knowledge outside ourselves—in language, in writing, in images—and pass it forward. Human achievement accumulates. Each generation inherits not only a biological structure, but a growing body of techniques, ideas, and representations.

And yet, this accumulation does not resolve the tension. It sharpens it.

We master the environment, but we do not master ourselves.

The same mind that can design systems of remarkable complexity remains susceptible to impulses it cannot fully account for. The same capacity for abstraction that allows us to plan also allows us to misinterpret, to project, to construct narratives that exceed the evidence. Our rationality, often taken as the defining feature of our species, operates within limits that it cannot escape. This is not a failure. It is a condition we repeatedly misrecognize as a failure.

If we imagine freedom as the complete control over our own destiny, then we are not free. We did not choose the structure within which we think, feel, and act. But if we understand freedom differently—as the capacity to become aware of this structure and to act within it—then something remains open. Not unlimited possibility, but constrained movement.

This tension has often been named, sometimes imprecisely, as the domain of the soul.

Perhaps what has often been called the “soul” is not a substance, nor a hidden essence, but the experience of this gap. The awareness that what we are does not fully coincide with what we attempt to become. It is not located in the body, nor in the mind alone, but in the distance between them. A space that cannot be eliminated, only inhabited.

Prehistory does not resolve this. It only reveals its early form. In the careful placement of a body in the ground, as seen in Neanderthal burials, sometimes accompanied by objects that served no immediate practical purpose, in the repetition of images deep within caves, in the first attempts to shape the environment, we begin to see the outlines of a being that does not coincide with itself. A being that carries its past as a constraint and its future as a projection.

We master the environment, but we do not master ourselves.

What we are, and what we try to be.

Everything that follows unfolds within that distance, as if every human gesture were an attempt to close it, and every result a reminder that it remains.

Narrative Layers

This week’s Narrative Layers takes place in Afonsoeiro, a neighbourhood in the municipality of Montijo, positioned between older residential streets and the commercial areas surrounding the Estrada do Pau Queimado. Like many of these urban zones, it is defined by small shifts in architecture, atmosphere, and rhythm — details that only begin to emerge while walking through it slowly.

THE OLD DOG

I arrived in the afternoon and moved through the buildings, following the light. Near the Bela Vista shopping centre, a few young people were sitting outside, watching. The building stood behind them — degraded, almost empty. The two seemed to belong together. I moved through it with some restraint.

The neighbourhood unfolds in small variations. Low apartment blocks, two or three floors. Rows of older houses, some with small patios or gardens. From one street to the next, things shift slightly — older constructions giving way to more recent ones, small adjustments accumulating without forming a clear break. Somewhere along the way, a large black dog barked from behind a gate, following my movement from inside. I kept walking.

“He looked at me and said, with a kind of amused detachment, that he was neither handsome nor ugly — then asked for one euro and twenty cents.”

Near the edge of the neighbourhood, music was playing in the street. A group of people had gathered, eating and drinking.

One man noticed me and started toward me, swaying through the dry grass, only to realise he had mistaken me for someone else. I asked if I could photograph him. He looked at me and said, with a kind of amused detachment, that he was neither handsome nor ugly — then asked for one euro and twenty cents. I reached into my pocket and found a few coins, almost that exact amount. I placed them in his hand. I pressed the shutter a few times and moved on.

After some distance, I saw an old man walking up the street with a large black dog. I recognised the dog — it was the one that had barked at me earlier from behind the gate. Now it was loose, running freely, cutting across my path and passing between my legs without hesitation.

“The old one barked with a rough, worn voice. The man leaned slightly forward and answered it, as if picking up a conversation with his old pal.”

The man stopped near a gate where another dog — much older — was inside. The old one barked with a rough, worn voice. The man leaned slightly forward and answered it, as if picking up a conversation with his old pal.

Victor wore yellow-tinted glasses and a large hat and carried a book on law. He told me that a motorbike had hit his dog, though the insurance company had chosen to see it the other way around — conveniently so — concluding that the dog had hit the motorbike. Victor found that unacceptable and was ready to take it to court.

The black dog moved around us while we spoke. The other one barked again from inside, as if adding a note of protest.

At some point, he pointed to a tree nearby. They go there every evening, he said. Then he showed me a photograph — a cluster of chickens gathered along a branch. I’m also a photographer, you know. I have a Leica.

by Jorge Silva

Visita Guiada

The visual elements of a space, of a landscape, play a fundamental role in constructing the familiarity we call memory. The chromatic palette, the rhythmic density, and the vertical and horizontal distribution of forms give each place the singularity of a fingerprint.

Visita Guiada is my photobook exploring memory, landscape, and the visual traces through which places become familiar.

The book is available here.

Coming Next:

New interview series

A new interview series is in preparation — conversations with voices from the international photography world as well as thinkers and practitioners from related fields. I’ll share more details as soon as the first conversations are ready to unfold.

The ordinary is a very under-exploited aspect of our lives because it is so familiar.”

Martin Parr

Until next time,