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