- Apr 2022
Within the field of semiotic analysis, an open text is one that can be interpreted by readers in a variety of ways. By way of contrast, a closed text prompts the reader to only one interpretation.
Given the definition of an open text (opera aperta), in practice, the Bible may be one of the most open texts ever written despite its more likely original intention of it being a strictly closed text.
What does a spectrum of open to closed look like? Can it be applied to other physical forms that could potentially be open to interpretation? Consider art, for example, which by general nature is far more open to interpretation (an open "text") and rarely are there artworks which are completely closed to a single interpretation.
How does time and changing audiences/publics affect a work? The Bible may have been meant as a closed text in its original historical context, but time and politics have shown it to be one of the most spectacularly open texts ever written.
He continues by comparing open works to Quantum mechanics, and he arrives at the conclusion that open works are more like Einstein's idea of the universe, which is governed by precise laws but seems random at first. The artist in those open works arranges the work carefully so it could be re-organized by another but still keep the original voice or intent of the artist.
Is physics open or closed?
Could a play, made in a zettelkasten-like structure, be performed in a way so as to keep a consistent authorial voice?
What potential applications does the idea of opera aperta have for artificial intelligence? Can it be created in such a way as to give an artificial brain a consistent "authorial voice"?
Umberto Eco makes a distinction between these kind of works, which are "open" in their interpretation, to the musical works from the beginning, which are open in their structural sense.
If Umberto Eco makes a distinction between the works which are open in interpretation and works like music which are open in their structural sense, what would he have made of viewing a work like a zettelkasten which could potentially be open in both respects?
Every work of art can be read, according to Eco, in three distinct ways: the moral, the allegorical and the anagogical.
Umberto Eco indicates that every work of art can be read in one of three ways: - moral, - allegorical - anagogical
Compare this to early Christianities which had various different readings of the scriptures.
Relate this also to the idea of Heraclitus and the not stepping into the same river twice as a viewer can view a work multiple times in different physical and personal contexts which will change their mood and interpretation of the work.
In this essay, Umberto Eco describes a special kind of musical works that can be organized and re-organized by the performers before they are played to the audience.
Is the zettelkasten potentially an example of one of the most open texts one can create?
I believe Umberto Eco kept one or had a note taking system similar to it.
- personal context
- multiple contexts
- open text
- artificial intelligence
- literary criticism
- no one steps into the same river twice
- opera aperta
- Umberto Eco
- closed text
- Roland Barthes
It is also the best support for the opera aperta, whose desire was pervasive in the1950s and 1960s
Denis Hollier suggests that the index card file is "the best support for the opera aperta, whose desire was pervasive in the 1950s and 1960s."
- Mar 2022
- Jun 2020
- Dec 2019
Amadis was the son of King Perion of Gaul. His story appears in five operas, including operas by George Friedrich Handel (1715) and Johann Christian Bach (1779).