This one is one being that one. This one is one and is that one and is one having had and having a way of being one believing something and meaning something and dancing. This is one being one having a way of dancing. This is one being that one.
[…]
This one is the one being dancing. This one is the
one thinking in believing in dancing having meaning.
This one is one believing in thinking. This one is one
thinking in dancing having meaning. This one is one
believing in dancing having meaning. This one is one
dancing. This one is one being that one. This one is
one being in being one being dancing. This one is one
being in being one who is dancing. This one is one
being one. This one is one being in being one.
[…]
She was one who would be contradicting any
one if she had not been one exceeding in affirming
everything. She was one not contradicting every one.
She was one contradicting. She could contradict any
one. She was dancing. She was not contradicting she
was dancing. She was exceedingly dancing. She was not
contradicting every one. She was one dancing.
She was one meaning something in being one
not contradicting every one. She was one meaning
something in being one contradicting any one.
She was one being one meaning in being one not
contradicting any one. She was one having meaning
in being one who was contradicting any one. She
was one having meaning in being one who was not
contradicting every one. She was one having meaning
in dancing. She was one having meaning in exceeding
in being the one being one dancing. She was having
meaning in being that one the one contradicting
every one. She was having meaning in being that
one the one not contradicting every one. She was
having meaning in being the one contradicting
any one. She was having meaning in being the one
not contradicting any one. Contradicting every one
was existing. She was affirming dancing. She was
exceeding in not contradicting every one. She was
exceeding in not contradicting any one.
Oskar Schlemmer, “Mensch und Kunstfigur”, Die Bühne im Bauhaus Bauhausbücher, 1924, pp. 16-17, dominio público.
Dancing was what she was doing then. She was
doing dancing. She was doing dancing and she was
that one she was the one dancing. She was doing
dancing and she was then one having meaning in being
that one. She was then one being that one, she was then
one being dancing, she was then one having meaning,
she was then one dancing in being that one, she was
then one being one dancing in being that one the one
having meaning. She was dancing then. She was being
that one. She was meaning that thing quite meaning
being that one. She was dancing.
She was being that one. She was dancing. She was
one needing meaning being existing. She was not then
showing needing meaning being existing. Not anything
then was showing anything in her being one then
needing that meaning is existing.
She was thinking then.
She was not then meaning everything in thinking.
She was thinking then. She was dancing. She was
thinking then and dancing had been existing. She was
dancing then, she was thinking then, she was meaning
everything, she was completely then being dancing, she
was exceeding then exceeding in being that one the one
then dancing.
She was dancing then. She certainly was thinking
then. She had been thinking some. She was meaning
everything then. She was completely then meaning
everything then and thinking then thinking that
meaning is existing and she was dancing then, quite
dancing then. She was dancing then, she was meaning
that thing, meaning dancing, she was dancing then, she
was meaning thinking then, she was thinking then, she
was meaning everything, she was dancing.
Imagen de portada: Oskar Schlemmer, “Mensch und Kunstfigur”, Die Bühne im Bauhaus Bauhausbücher, 1924, pp. 16-17, dominio público.