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Abstract
In this paper I offer, by way of a circuitous route, a journey examining ‘how we know we know’. This examination is significant as it again rehearses the division between ‘Analytical’ and ‘Continental’ knowing. A division in valuing knowing that, when tested in the circumstances of a performance of John Cage's ‘4 minutes and 33 seconds’ and an engagement with Diego Velázquez's painting Las Meninas, exposes the role of the audience in their engagement with any object or event.