The wonder of mimesis lies in the copy drawing on the character and power of the original, to the point whereby the representation may even assume that character and that power. I an older language, this is "sympathetic magic," and I believe it is as necessary to the very process of knowing as it is to the construction and subsequent naturalization of identities. But if it is a faculty, it is also a history, and just as histories enter into the functioning of the mimetic faculty, so the mimetic faculty enters into those histories. No understanding of mimesis is worthwhile if it lacks the mobility to traverse this two-way street, especially pertinent to which is Euro-AMerican colonialism, the felt relation of the civilizing process to savagery, to aping.
Michael Taussig, Mimesis and Alterity: A Particular History of the Senses (New York; London: Routledge, 1993) p.xiv

Europe, or the Western World, or Civilization, has been going around watching everyone for some time now. The good part of this is a kind of self-observation, so that we have complicated novels to read, and art that attempts self-exploration and intervention in the given narrative and, at the same time, a little distance. The bad part is that the Western World has not observed itself observing. It has not seen how active, how transforming, its watching has been for itself. The West (I can't keep writing the "Western World," though "the West" is even more ambiguous) has not imagined itself as defined by its colonial enterprises and engagements. Instead, it has continuously imagined barriers and borders between itself and constantly reenforced Others.

But listen to this: "The border has dissolved and expanded to cover the lands it once separated such that all the land is borderland, wherein the imagesphere of alterities, no less than the physiognomic aspects of visual worlds, disrupt the speaking body of the northern scribe into words hanging in grotesque automutilation over a post-modern landscape where Self and Other paw at the ghostly imaginings of each other's powers." It's Michael Taussig, in his book Mimesis and Alterity. When I first saw the title I thought it was awkward and academic, but that's because I didn't know the word "alterity." (I'm afraid I suffer from the American disease that causes anger at things, especially fancy words, one doesn't know.) After reading the book, though, I wrote to Taussig to tell him he had written things I'd always intended to think but had been unable to.
Jimmie Durham, "Mimesis and Alterity" (book review) in Artforum, (December 1993) full text online