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eed in realizing . The second is the reality as we experience it by living . Fin
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owing also intervene in the observed reality and alter it . Calvino is particula
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f ‘ either… or… ’ that seems to rule reality . Artworks are places where contrad
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atter whether they come as pieces of reality or as products of individual or col
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isibility share the same gradient of reality , no matter whether they harmonio
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either by only choosing one layer of reality , or by continuously stepping fro
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ating as a prism that multiplies the reality it reflects . A space of communic
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] attempts to escape the vortex of multiplicity are useless. ” [ 6 ] In his
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, he subsequently focuses on [ i ] multiplicity [ i ] as a way for literatur
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ore , let ’ s think visibility and multiplicity together , as : a multiplica
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the contrary , it is generating a multiplicity of different gazes that are
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d and thus incomplete and open . A Multiplicity of Gazes An undecidable ar
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cs today , is that they generate a multiplicity of gazes and of forms of s
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positions and points of view . The multiplicity of gazes produced and gath
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es a radical collectivity based on multiplicity and on conflicting posit
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lity and from its encounter with a multiplicity of gazes . Preserving it
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ncounter between undecidable art , multiplicity of gazes , and a curator
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ibid , p. 98 . 7 . Italo Calvino , Multiplicity , [ i ] Six Memos for
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ive works in particular , as the contemporaneity of production , consu
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the author is then challenged and responsibility is shared with the au
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t Norton poetry lectures at Harvard University . In the last months of
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the Next Millennium [ i ] , Harvard University Press , Cambridge 198
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searcher Laura Gemini at the Urbino University . 11 . An active grou
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r rather for undecidability , as the quality of being undecidable .
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In this sense , undecidability is a quality specific to some artw
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ure and the intact potentiality of a quality that does not make it
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Undecidability Silvia Bottiroli Multiplying the
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r the undecidable , or rather for undecidability , as the qualit
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al and Potential Worlds In fact , undecidability is a specific f
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d actual worlds . In this sense , undecidability is a quality sp
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within an art that practices its undecidability . Here , spec
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uld trace back to the practice of undecidability , [ i ] Azdor
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The kind of collective body that undecidability produces coul
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ality . Indeed , as a practice of undecidability , art produce
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t forms of visibility within it . Undecidability could then
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ng from an art that practices its undecidability and from it
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d under certain terms performs the possibility of its actual
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cal of performance intensifies the possibility of undecida
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ating this feminine figure and the possibility that it sug
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and the concert revolve around the possibility of emancipa
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produced , [ 10 ] multiplying the possibility to access
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nd consequences already opens this possibility and even
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e picture , an artistic fantasy , a community theatre wo
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orks does not compose itself into a community , as there
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ations involve , by the means of the infinity of lingu
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ty of linguistic possibilities , the infinity of the a
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the artist ’ s imagination , and the infinity of conti
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sibility [ i ] , revolves around the capacity of lit
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nd by setting the conditions for an intensity that c
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. Rather , it generates a radical collectivity base
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of undecidability , art produces a collectivity ,
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rkness that withholds many forms of visibility wit
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lvino ’ s fourth memo , [ 1 ] [ i ] Visibility [ i
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. ” [ 7 ] Therefore , let ’ s think visibility and
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f producing different conditions of visibility .
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where all the images that come into visibility s
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order to produce different forms of visibility w
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, title . 2 . Italo Calvino , [ i ] Visibility
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t further and propose that art ’ s potentiality
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potential when it can maintain its potentiality
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actual form . In particular , the potentiality
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to keep being a sheer , glimmering potentiality
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ct the inner nature and the intact potentiality
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