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      Richard Layzell & Tania Koswycz – The Manifestation      
 
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spacerarrow Introduction
spacerarrow Interview

spacerarrow 100 Understandings

 

100 possible understandings of The Manifestation by John Hammersle
  1. The Manifestation is not not an art work.
  2. The Manifestation may or may not be the work of art.
  3. The Manifestation may or may not be made manifest through work.
  4. The work of the Manifestation may or may not be possible only through the work of dialogue.
  5. The work of dialogue of The Manifestation may or may not have started without You.
  6. The work of dialogue of The Manifestation may or may not continue with You.
  7. The work of dialogue of The Manifestation may or may not continue without You.
  8. The You of the work of dialogue of The Manifestation may or may not also be an I.
  9. The I of the You may or may not be present with The Manifestation.
  10. The I of the You may or may not be made manifest by The Manifestation.
  11. The I/You may or may not recognise another I/You.
  12. To participate in the work of The Manifestation is to be recognised as an I/You.
  13. An I/It is not not a participant in The Manifestation.
  14. The possible dialogue of The Manifestation may or may not be something of the dialogue from which The Manifestation was first spoken.
  15. The Manifestation may or may not have first been spoken of by Richard and/or Tania.
  16. The Manifestation may or may not have existed as a possibility before it was first spoken.
  17. Richard and Tania may or may not be present in The Manifestation as an I/You.
  18. The I/You of Richard and Tania may or may not speak to you through the Manifestation.
  19. The I/You of Richard and Tania is not not speaking without (of) dialogue.
  20. The Manifestation may or may not appear to be made up of many I/Its.
  21. The apparent I/Its of The Manifestation may speak of the I/You of Richard and Tania.
  22. The voice of the I/You of The Manifestation may be heard in the Cream Pages.
  23. The voice of The Cream Pages may be heard in the dialogue pages of The Manifestation.
  24. The Voice of the I/You may or may not sound like the voice of the I/It.
  25. The relationship between the voice of the I/You and the I/It in The Cream Pages may or may not be the work of dialogue and dialectic.
  26. The dialectic of the I/It may or may not be made possible by the listening of the I/You.
  27. To speak of an I/It of The Manifestation may or may not to be to speak something of the dialogue of The Manifestation.
  28. The specific of The Manifestation may or may not be in dialogue with the general (of The Manifestation).
  29. The Stumbling Block is not not a stumbling block for I/Yous.
  30. A recognition of the possibility of The Stumbling Block may or may not be necessary to participate in the dialogue of The Manifestation.
  31. The Stumbling Block may or may not position you.
  32. The Stumbling Block may or may not bring your position into the dialogue of The Manifestation.
  33. The Stumbling Block may or may not stand before a Falling Phoebe.
  34. Falling Phoebe is not not recognised by those around her.
  35. Falling Phoebe may or may not be recognised by you as an I/You.
  36. Falling Phoebe may or may not appear to work at falling.
  37. A fall may or may not follow a stumble.
  38. A fall may or may not speak of vulnerability.
  39. Phoebe may or may not be unrecognised by I/Its in the art work of her falling.
  40. An I/You may recognise the fall as work.
  41. The I AM THE ONE of Tania may or may not sound like the voice of an I/It.
  42. The I AM THE ONE of Tania may or may not speak of the I/You of The Manifestation.
  43. The Manifestation may or may not speak of the possibility of the dialogue of the one and the two.
  44. The one and the two of The Manifestation may speak of White on White and Black on Black.
  45. The Manifestation does not not speak of black and white.
  46. The Manifestation speaks of the work of White on White and Black on Black.
  47. The Brush is the one and the two and speaks of the work of White on White and Black on Black.
  48. White on White and Black on Black may or may not face each other.
  49. The facing of White on White and Black on Black may or may not be reciprocity.
  50. The reciprocity of White on White and Black on Black may or may not be made manifest in The Manifestation.
  51. The Perfect Image may or may not be one of many.
  52. The Perfect Image may or may not represent the possibility of the one.
  53. The Perfect Image may or may not speak of the possibility of The Perfect Image.
  54. The Perfect Image does not not speak of sound.
  55. The Perfect Image may or may not speak quietly.
  56. The Perfect Image may or may not be the Perfect Image of Richard and/or Tania.
  57. The Perfect Image may or may not be offered by Richard.
  58. The Perfect Image may or may not be offered by Tania.
  59. The Perfect Image may or may not be difficult to recognise as an I/It.
  60. The Perfect Image may or may not be recognisable in the dialogue of The Manifestation.
  61. The dialogue of the Manifestation may or may not speak of the I/You of Richard and Tania.
  62. A curved wall may or may not participate in The Manifestation.
  63. The curved wall may or may not participate in a dialogue with the Curve Measurer.
  64. The Curve Measurer may or may not speak of the quality of measurement.
  65. The Curve Measurer may or may not be slight and significant.
  66. The curve is not not a line in The Manifestation.
  67. The curve speaks of multiple positions of reciprocity.
  68. The curve is not not in opposition to a position.
  69. The curve may or may not participate in movement.
  70. The movement of the curve may or may not be the movement of the I/You.
  71. The movement of the curve may or may not speak of the possibility of the movement of The Manifestation.
  72. Tables may or may not speak of curves.
  73. Tables may or may not speak of the possibility of movement between.
  74. Tables may or may not speak of the curved movement between.
  75. To be close to one table may or may not to be far from another table.
  76. The tables may or may not have a focus.
  77. The focus of the tables may or may not be light.
  78. The tables may or may not be clear.
  79. The tables may or may not be covered.
  80. The tables may or may not support objects.
  81. The objects may or may not speak of the curves of tables.
  82. The objects may or may not speak of the work of waiting.
  83. Waiting for the tables to speak may or may not involve work.
  84. The waiting tables may or may not be in dialogue with Art Work.
  85. The waiting tables may or may not be in dialogue with Work Art.
  86. In Art Work / Work Art the quality of art may or may not be in dialogue with the quality of work.
  87. Work may or may not be an iteration of the work of the I/It.
  88. Work may or may not be an iteration of the work of the I/You.
  89. The work of Art Work / Work Art may or may not speak of the recognition of work.
  90. The work of Art Work / Work Art may or may not speak of the recognition of the I/You.
  91. The work may or may not be serious.
  92. The work may or may not be humorous.
  93. The dialogue of serious humour may or may not speak of the work of The Manifestation.
  94. The humour of The Manifestation may or may not be one invitation to dialogue with The Manifestation.
  95. The I/You of Richard and Tania may or may not be an invitation to dialogue with The Manifestation too.
  96. The art works of The Manifestation may or may not be an invitation to dialogue with The Manifestation.
  97. Richard and Tania may or may not be an invitation to dialogue with The Manifestation.
  98. Beginning a dialogue with The Manifestation may or may not begin with The Manifestation.
  99. Beginning a dialogue with The Manifestation may or may not end with The Manifestation.
  100. Possible Understandings of The Manifestation is not not The Manifestation.
   
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