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Nele Noppe

Open Source Open World - 0 views

www.focus.com/...open-source-open-world

open_source open_work

shared by Nele Noppe on 24 Nov 10 - Cached
  • Nele Noppe on 24 Nov 10
     
    Does not include cultural goods!
Nele Noppe

Chapter 1: Ergodic Literature - 0 views

www.hf.uib.no/...Ergodic.html

open_work fanwork internet phd phd_unfinished literature cybertext games

shared by Nele Noppe on 08 Sep 10 - Cached
  • Nele Noppe on 08 Sep 10
     
    espen aarseth
Nele Noppe

Cybertext - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/Cybertext

open_work fanwork internet phd phd_unfinished literature

shared by Nele Noppe on 08 Sep 10 - Cached
  • Cybertext is based on the idea that getting to the message is just as important as the message itself. In order to obtain the message work on the part of the user is required. This may also be referred to as nontrivial work on the part of the user.[2]
  • The fundamental idea in the development of the theory of cybernetics is the concept of feedback: a portion of information produced by the system that is taken, total or partially, as input.
Nele Noppe

Electronic Literature: What is it? - 0 views

eliterature.org/elp.html

literature hypertext open_work phd phd_unfinished to_read

shared by Nele Noppe on 08 Sep 10 - Cached
  • the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and interpreting the works.
  • "literature" has always been a contested category.
  • To see electronic literature only through the lens of print is, in a significant sense, not to see it at all.
  • ...19 more annotations...
  • Electronic literature, generally considered to exclude print literature that has been digitized, is by contrast "digital born," a first-generation digital object created on a computer and (usually) meant to be read on a computer
  • At the same time, because electronic literature is normally created and performed within a context of networked and programmable media, it is also informed by the powerhouses of contemporary culture, particularly computer games, films, animations, digital arts, graphic design, and electronic visual culture
  • Digital technologies are now so thoroughly integrated with commercial printing processes that print is more properly considered a particular output form of electronic text than an entirely separate medium. Nevertheless, electronic text remains distinct from print in that it literally cannot be accessed until it is performed by properly executed code
  • immediacy of code to the text's performance is fundamental to understanding electronic literature, especially to appreciating its specificity as a literary and technical production
  • How to maintain such conventional narrative devices as rising tension, conflict, and denouement in interactive forms where the user determines sequence continues to pose formidable problems for writers of electronic literature, especially narrative fiction.
  • . "Giving the audience access to the raw materials of creation runs the risk of undermining the narrative experience," she writes, while still acknowledging that "calling attention to the process of creation can also enhance the narrative involvement by inviting readers/viewers to imagine themselves in the place of the creator.
  • Hypertext fiction, network fiction, interactive fiction, locative narratives, installation pieces, "codework," generative art and the Flash poem are by no means an exhaustive inventory of the forms of electronic literature, but they are sufficient to illustrate the diversity of the field, the complex relations that emerge between print and electronic literature, and the wide spectrum of aesthetic strategies that digital literature employs
  • . Such close critical attention requires new modes of analysis and new ways of teaching, interpreting, and playing. Most crucial, perhaps, is the necessity to "think digital," that is, to attend to the specificity of networked and programmable media while still drawing on the rich traditions of print literature and criticism.
  • One problem with identifying the hyperlink as electronic literature's distinguishing characteristic was that print texts had long also employed analogous technology in such apparati as footnotes, endnotes, cross-reference, and so on, undermining the claim that the technology was completely novel. Perhaps a more serious problem, however, was the association of the hyperlink with the empowerment of the reader/user. As a number of critics have pointed out, notably Espen J. Aarseth, the reader/user can only follow the links that the author has already scripted.
  • ergodic literature
  • The shortcomings of importing theoretical assumptions developed in the context of print into analyses of electronic media were vividly brought to light by Espen J. Aarseth's important book Cybertext: Explorations of Ergodic Literature.
  • ," texts in which "nontrivial effort is required to allow the reader to traverse the text"
  • The deepest and most provocative for electronic literature is the fifth principle of "transcoding," by which Manovich means the importation of ideas, artifacts, and presuppositions from the "cultural layer" to the "computer layer" (46).
  • arguing that print texts also use markup language, for example, paragraphing, italics, indentation, line breaks and so forth.
  • Complementing studies focusing on the materiality of digital media are analyses that consider the embodied cultural, social, and ideological contexts in which computation takes place.
  • electronic literature can be seen as a cultural force helping to shape subjectivity in an era when networked and programmable media are catalyzing cultural, political, and economic changes with unprecedented speed.
  • Liu urges a coalition between the "cool" — designers, graphic artists, programmers, and other workers within the knowledge industry — and the traditional humanities, suggesting that both camps possess assets essential to cope with the complexities of the commercial interests that currently determine many aspects of how people live their everyday lives in developed societies.
  • The Laws of Cool: Knowledge Work and the Culture of Information
  • Realizing this broader possibility requires that we understand electronic literature not only as an artistic practice (though it is that, of course), but also as a site for negotiations between diverse constituencies and different kinds of expertise.
  • Nele Noppe on 08 Sep 10
     
    Hayles
Nele Noppe

Electronic literature - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Electronic_literature

literature hypertext open_work phd phd_unfinished

shared by Nele Noppe on 08 Sep 10 - Cached
  • N. Katherine Hayles discusses the topic in the online article Electronic Literature: What Is It. She argues in her 2008 text Electronic Literature that, "electronic literature, generally considered to exclude print literature that has been digitized, is by contrast 'digital born,' and (usually) meant to be read on a computer."[1]
  • Computer art installations which ask viewers to read them or otherwise have literary aspects
  • Nele Noppe on 08 Sep 10
     
    N. Katherine Hayles discusses the topic in the online article Electronic Literature: What Is It. She argues in her 2008 text Electronic Literature that, "electronic literature, generally considered to exclude print literature that has been digitized, is by contrast 'digital born,' and (usually) meant to be read on a computer."[1]
Nele Noppe

paceus: Textual Echoes: Nele Noppe and the 'open work' - 0 views

paceus.livejournal.com/114842.html

open_work research academia fanficforensics phd

shared by Nele Noppe on 17 Feb 10 - Cached
  • open source software
  • spirit of 'open work' is decentralised
  • Nina Työlahti
  • ...7 more annotations...
  • Kristina Busse talked about the myth of the author too
  • tv shows like SGA do certainly seem to require active participation from fans because the show is so flawed -- unrealistic, filled with plot holes, or otherwise unsatisfying and failing to meet my expectations of entertainment
  • file sharing and piracy
  • gift economy
  • This explanation doesn't cover fan writing and for example fanzines from the earlier decades though, since they didn't exactly have anything to do with the internet. Vidding, though, began as slide shows and continued with VCRs, so that was definitely connecting the format to what the vidders wanted to express.
  • legitimises fan works
  • remember their cultural specificity
  • Nele Noppe on 17 Feb 10
     
    A review of my TE presentation, yey
Nele Noppe

JSTOR: Narrative, Vol. 9, No. 1 (Jan., 2001), pp. 21-39 - 0 views

www.jstor.org/20107227

internet literature open_work fanficforensics phd

shared by Nele Noppe on 31 Jan 10 - No Cached
    • Nele Noppe
      Nele Noppe on 31 Jan 10
       
      Let me
      begin
      with a claim:
      literary theory
      and criticism are shot
      through
      with
      assumptions specific
      to
      print, although they
      have not been
      recognized
      as such.
      Only
      now, as the vibrant new medium of electronic
      textuality
      is
      asserting
      its presence,
      are
      these
      assumptions coming
      into view. O
  • The Transformation of Narrative and the Materiality of Hypertext
Nele Noppe

N. Katherine Hayles - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Katherine_Hayles

internet literature open_work zoomorphism fanficforensics phd

shared by Nele Noppe on 31 Jan 10 - Cached
  • Her scholarship focuses upon the "relations between science, literature, and technology
Nele Noppe

Open-work: Dining at the Interstices - 0 views

www.heelstone.com/...haylesfr.htm

open_work literature internet copyright phd phd_unfinished

shared by Nele Noppe on 31 Jan 10 - Cached
  • In the New Millennium, the tradition that Judy Chicago pioneered of recognizing and celebrating women’s contributions continues in the vibrant new medium of the Web. Talan Memmott has suggested the term "Rich Lit" for the cornucopia of delights that this new "Dinner Party" offers.
  • The protest of the literati may be misguided, but it has enough nanograms of truth to prompt me to suggest a complementary term to Talan’s rich lit: open-work.
  • As a term, open-work calls attention to the fact that the craftwork of making has again become a recognized and important component of textual production. During the last several hundred years, the commodification of book production drove a wedge between authorial process and the hands-on labor of producing the book as a physical object. The complex history behind this separation has been documented by Mark Rose in Authors and Owners: The Invention of Copyright, among others. Suffice it to say here that a constellation of economic, political and class forces was successful in promulgating the idea that what the author produced was an immaterial concept separated from and untainted by the commercial networks that brought the actual book into being.
  • ...9 more annotations...
  • "work"--associated with the same male-centered world view that so enraged July Chicago-
  • The intelligence, knowledge, and creativity it takes to write and/or implement software for artistic purposes can no longer be separated from the work,
  • The open-work is open in the sense that it serves as a fluid space in which artistic intent commingles with technical expertise. At many levels and in many ways, the material basis for the production of the open-work interpenetrates the work as concept and cannot be separated from it.
  • rt itse
  • Especially illuminating in this regard are open-works that foreground the importance of craftwork by "treating" traditional texts so their concepts become literalized or materialized in new ways, thus opening spaces within the traditional texts where the fluid and hybrid nature of the open-work can asse
  • appropriation
  • Another aspect of the openness of the open-work is expressed in its fusion of text and image. With digital technology
  • The encoding of text into binary code allows fragmentation and recombination to operate in ways unthinkable with alphabetic language.
  • Finally, the open-work is open in the sense that it radiates out to a physically dispersed community, uniting together in collaborative projects women from different regions and countries, as well as bringing into existence an international Web community who can access and benefit from each other’s works.
Nele Noppe

Electronic Literature: Discourses, Communities, Traditions Thomas Swiss "Technology has... - 0 views

74.125.155.132/scholar

open_work fanwork internet fanficforensics phd

shared by Nele Noppe on 31 Jan 10 - No Cached
Nele Noppe

Web of Words: Poetry, Fandom and Globality - 0 views

74.125.155.132/scholar

open_work fandom poetry fanficforensics phd

shared by Nele Noppe on 31 Jan 10 - No Cached
Nele Noppe

OVER-INTERPRETATION IN THE TRANSLATION OF CRYPTIC POETRY Thesis submitted to the Instit... - 0 views

74.125.155.132/scholar

open_work poetry translation fanficforensics phd

shared by Nele Noppe on 24 Jan 10 - No Cached
Nele Noppe

Creative Industries - 0 views

www.amazon.com/...ref=sr_1_1

open_work literature internet copyright fanficforensics phd

shared by Nele Noppe on 17 Jan 10 - No Cached
  • Nele Noppe on 17 Jan 10
     
    by John Hartley, to read
Nele Noppe

Literary Openness: A Bridge across the Divide between Chinese and Western Literary Thought - 0 views

74.125.155.132/scholar

umberto_eco open_work literature china cross-cultural fanficforensics phd

shared by Nele Noppe on 17 Jan 10 - No Cached
  • Nele Noppe on 17 Jan 10
     
    Associations between open work and chinese literary theory
Nele Noppe

McLuhan Studies Premiere Issue: Eco's Prophetic Vision of Mass Culture - 0 views

www.chass.utoronto.ca/...1_1art10.htm

umberto_eco open_work literature pop_culture fanficforensics phd

shared by Nele Noppe on 15 Jan 10 - Cached
  • Even in his first essays in the sixties, the author's approach to reading, interpreting and commenting on culture could already be seen as that of a semiotician who had not yet adopted the technical jargon of the discipline. In fact, it would not be too far-fetched to consider the Eco of the sixties as essentially a young Adso (see the discussions on reading signs betwen William and Adso in The Name of the Rose) ready to learn about semiotics from the right mentor. We must also remember that as soon as Eco no longer feels satisfied by the early writings of French semioticians and structuralists like Barthes and Levi-Strauss, he turns to the studies of Jakobson and Peirce on the science of signs.
  • Also, few intellectuals can match Eco's great interdisciplinary skills.
  • In general, Eco's critics (most of them academic) have suggested that he is successful because he publishes trendy books.
Nele Noppe

Vegetal and mineral memory: The future of books - 0 views

weekly.ahram.org.eg/...bo3.htm

umberto_eco literature internet open_work phd phd_unfinished

shared by Nele Noppe on 15 Jan 10 - Cached

  • The WWW is the Great Mother of All Hypertexts, a world-wide library where you can, or you will in short time, pick up all the books you wish. The Web is the general system of all existing hypertexts.

    Such a difference between text and system is enormously important,

  • Today there are new hypertextual poetics according to which even a book-to-read, even a poem, can be transformed to hypertext. At this point we are shifting to question two, since the problem is no longer, or not only, a physical one, but rather one that concerns the very nature of creative activity, of the reading process, and in order to unravel this skein of questions we have first of all to decide what we mean by a hypertextual link.
  • Notice that if the question concerned the possibility of infinite, or indefinite, interpretations on the part of the reader, it would have very little to do with the problem under discussion.
  • ...28 more annotations...
  • No: what are presently under consideration are cases in which the infinity, or at least the indefinite abundance of interpretations, are due not only to the initiative of the reader, but also to the physical mobility of the text itself, which is produced just in order to be re-written. In order to understand how texts of this genre can work we should decide whether the textual universe we are discussing is limited and finite, limited but virtually infinite, infinite but limited, or unlimited and infinite.
  • First of all, we should make a distinction between systems and texts. A system, for instance a linguistic system, is the whole of the possibilities displayed by a given natural language.
  • If you are able to use an English dictionary well you could write Hamlet, and it is by mere chance that somebody did it before you. Give the same textual system to Shakespeare and to a schoolboy, and they have the same odds of producing Romeo and Juliet.
  • Grammars, dictionaries and encyclopaedias are systems: by using them you can produce all the texts you like. But a text itself is not a linguistic or an encyclopaedic system. A given text reduces the infinite or indefinite possibilities of a system to make up a closed universe.
  • A text castrates the infinite possibilities of a system.
  • Finnegans Wake is certainly open to many interpretations, but it is certain that it will never provide you with a demonstration of Fermat's last theorem, or with the complete bibliography of Woody Allen. This seems trivial, but the radical mistake of many deconstructionists was to believe that you can do anything you want with a text. This is blatantly false.
  • How can hypertextual strategies be used to "open" up a finite and limited text?

  • The first possibility is to make the text physically unlimited, in the sense that a story can be enriched by the successive contributions of different authors and in a double sense, let us say either two-dimensionally or three-dimensionally. By this I mean that given, for instance, Little Red Riding Hood, the first author proposes a starting situation (the girl enters the wood) and different contributors can then develop the story one after the other, for example, by having the girl meet not the wolf but Ali Baba, by having both enter an enchanted castle, having a confrontation with a magic crocodile, and so on, so that the story can continue for years. But the text can also be infinite in the sense that at every narrative disjunction, for instance, when the girl enters the wood, many authors can make many different choices. For one author, the girl may meet Pinocchio, for another she may be transformed into a swan, or enter the Pyramids and discover the treasury of the son of Tutankhamen.

    This is today possible, and you can find on the Net some interesting examples of such literary games.

  • AT THIS POINT one can raise a question about the survival of the very notion of authorship and of the work of art, as an organic whole. And I want simply to inform my audience that this has already happened in the past without disturbing either authorship or organic wholes.
  • Yet, there is a difference between implementing the activity of producing infinite and unlimited texts and the existence of already produced texts, which can perhaps be interpreted in infinite ways but are physically limited. In our same contemporary culture we accept and evaluate, according to different standards, both a new performance of Beethoven's Fifth and a new Jam Session on the Basin Street theme. In this sense, I do not see how the fascinating game of producing collective, infinite stories through the Net can deprive us of authorial literature and art in general. Rather, we are marching towards a more liberated society in which free creativity will coexist with the interpretation of already written texts. I like this. But we cannot say that we have substituted an old thing with a new one. We have both.
  • I have tried desperately to find an instance of unlimited and finite textual situations, but I have been unable to do so. In fact, if you have an infinite number of elements to play with why limit yourself to the production of a finite universe? It's a theological matter, a sort of cosmic sport, in which one, or The One, could implement every possible performance but prescribes itself a rule, that is, limits, and generates a very small and simple universe.
  • A hypertext can give the illusion of opening up even a closed text: a detective story can be structured in such a way that its readers can select their own solution, deciding at the end if the guilty one should be the butler, the bishop, the detective, the narrator, the author or the reader. They can thus build up their own personal story. Such an idea is not a new one.
  • All these physically moveable texts give an impression of absolute freedom on the part of the reader, but this is only an impression, an illusion of freedom.
  • n contrast, a stimulus-text that provides us not with letters, or words, but with pre-established sequences of words, or of pages, does not set us free to invent anything we want. We are only free to move pre-established textual chunks in a reasonably high number of ways.
  • At the last borderline of free textuality there can be a text that starts as a closed one, let us say, Little Red Riding Hood or The Arabian Nights, and that I, the reader, can modify according to my inclinations, thus elaborating a second text, which is no longer the same as the original one, whose author is myself, even though the affirmation of my authorship is a weapon against the concept of definite authorship. The Net is open to such experiments, and most of them can be beautiful and rewarding. Nothing forbids one writing a story where Little Red Riding Hood devours the wolf. Nothing forbids us from putting together different stories in a sort of narrative patchwork. But this has nothing to do with the real function and with the profound charms of books.
  • A BOOK OFFERS US A TEXT which, while being open to multiple interpretations, tells us something that cannot be modified.
  • Alas, with an already written book, whose fate is determined by repressive, authorial decision, we cannot do this. We are obliged to accept fate and to realise that we are unable to change destiny. A hypertextual and interactive novel allows us to practice freedom and creativity, and I hope that such inventive activity will be implemented in the schools of the future. But the already and definitely written novel War and Peace does not confront us with the unlimited possibilities of our imagination, but with the severe laws governing life and death.
  • That is what every great book tells us, that God passed there, and He passed for the believer as well as for the sceptic. There are books that we cannot re-write because their function is to teach us about necessity, and only if they are respected such as they are can they provide us with such wisdom. Their repressive lesson is indispensable for reaching a higher state of intellectual and moral freedom.
  • Its model is not so much a straight line as a real galaxy where everybody can draw unexpected connections between different stars to form new celestial images at any new navigation point.
  • Even after the invention of printing, books were never the only instrument for acquiring information. There were also paintings, popular printed images, oral teaching, and so on. Simply, books have proved to be the most suitable instrument for transmitting information.
  • Hypertexts will certainly render encyclopaedias and handbooks obsolete.
  • Then they are books to be consulted, like handbooks and encyclopaedias.
  • There are two sorts of book: those to be read and those to be consulted.
  • Yet, can a hypertextual disk or the WWW replace books to be read? Once again we have to decide whether the question concerns books as physical or as virtual objects. Once again let us consider the physical problem first.
  • Books belong to those kinds of instruments that, once invented, have not been further improved because they are already alright, such as the hammer, the knife, spoon or scissors.
  • TWO NEW INVENTIONS, however, are on the verge of being industrially exploited. One is printing on demand: after scanning the catalogues of many libraries or publishing houses a reader can select the book he needs, and the operator will push a button, and the machine will print and bind a single copy using the font the reader likes. This will certainly change the whole publishing market.
  • Simply put: every book will be tailored according to the desires of the buyer, as happened with old manuscripts.
  • Alas, if by chance one hoped that computers, and especially word processors, would contribute to saving trees, then that was wishful thinking. Instead, computers encourage the production of printed material. The computer creates new modes of production and diffusion of printed documents.
Nele Noppe

The Poetics of the Open Work By Umberto Eco - 0 views

74.125.155.132/scholar

umberto_eco open_work fanficforensics phd

shared by Nele Noppe on 10 Jan 10 - Cached
  • the instrumentalist's freedom is a function of the "narrative" structure of
    the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of
    the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of
    the piece
  • ...39 more annotations...
  • the instrumentalist's freedom is a function of the "narrative" structure of
    the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of
    the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of
    the piece,
  • the instrumentalist's freedom is a function of the "narrative" structure of
    the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of
    the piece,
  • the instrumentalist's freedom is a function of the "narrative" structure of
    the piece, w
  • the new musical works referred to
    above reject the definitive, concluded message and multiply the formal possibilities of
    the distribution of their elements.
  • initiative of the individual performer
  • As he reacts to the play of stimuli and his own response to
    their patterning, the individual addressee is bound to supply his own existential
    credentials, the sense conditioning which is peculiarly his own, a defined culture, a set of
    tastes, personal inclinations, and prejudices. Thus, his comprehension of the original
    artifact is always modified by his particular and individual perspective. In fact, the form of
    the work of art gains its aesthetic validity precisely in proportion to the number of
    different perspectives from which it can be viewed and understood.
  • A work of art, therefore, is a complete
    and closed form in its uniqueness as a balanced organic whole, while at the same time
    constituting an open product on account of its susceptibility to countless different
    interpretations which do not impinge on its unadulterable specificity.
  • it is obvious that works like those of Berio and Stockhausen are "open" in a
    far more tangible sense.
  • the poetics of the "open" work tends to encourage “acts of
    conscious freedom” on the part of the performer and place him at the focal point of a
    network of limitless interrelations,
  • Instead nowadays it is
    primarily the artist who is aware of its implications.
  • However, in this type of operation, "openness" is far removed from
    meaning "indefiniteness" of communication, "infinite" possibilities of form, and complete
    freedom of reception. What in fact is made available is a range of rigidly
    preestablished and ordained interpretative solutions,
  • and these never allow the reader to
    move outside the strict control of the author.
  • It is not that the four solutions of the allegorical passage are quantitatively more limited
    than the many possible solutions of a contemporary "open" work. As I shall try to show, it
    is a different vision of the world which lies under these different aesthetic experiences
  • Now if Baroque spirituality is to be seen as the first
    clear manifestation of modern culture and sensitivity, it is because here, for the first time,
    man opts out of the canon of authorized responses and finds that he is faced (both in art
    and in science) by a world in a fluid state which requires corresponding creativity on his
    part.
  • the new man's inventive role. He is no longer to see the work of art as an object which
    draws on given links with experience and which demands to be enjoyed; now he sees it
    as a potential mystery to be solved, a role to fulfill, a stimulus to quicken his imagination.
  • W.
    Y. Tindall, in his book on the literary symbol, offers an analysis of some of the greatest
    modern literary works in order to test Valéry's declaration that "il n'y a pas de vrai sens
    d'un texte" ("there is no true meaning of a text"). Tindall eventually concludes that a
    work of art is a construct which anyone at all, including its author, can put to any use
    whatsoever, as he chooses. This type of criticism views the literary work as a
    continuous potentiality of "openness"-in other words, an indefinite reserve of meanings.
    This is the scope of the wave of American studies on the structure of metaphor, or of
    modern work on "types of ambiguity" offered by poetic discourse.
  • Clearly, the work of James Joyce is a major example of an "open" mode, since it
    deliberately seeks to offer an image of the ontological and existential situation of the
    contemporary world.
  • Here the work is "open" in the same sense that a debate is
    "open." A solution is seen as desirable and is actually anticipated, but it must come from
    the collective enterprise of the audience. In this case the "openness" is converted into an
    instrument of revolutionary pedagogics.
  • the examples
    considered in the preceding section propose an "openness" based on the theoretical,
    mental collaboration of the consumer, who must freely interpret an artistic datum, a
    product which has already been organized in its structural entirety (even if this structure
    allows for an indefinite plurality of interpretations). On the other hand, a composition like
    Scambi, by Pousseur, represents a fresh advance.
  • it is clear
    that a composition such as Scambi poses a completely new problem. It invites us
    to identify inside the category of "open" works a further, more restricted classification of
    works which can be defined as "works in movement," because they characteristically
    consist of unplanned or physically incomplete structural units
  • If we turn to literary production to try to isolate an example of a work in movement," we
    are immediately obliged to take into consideration Mallarmé's Livre, a colossal and far-
    reaching work, the quintessence of the poet's production. He conceived it as the
    work which would constitute not only the goal of his activities but also the end goal of the
    world:
  • However, Mallarmé's immense enterprise was utopian:
  • In every century, the way that artistic forms are structured reflects the way in which
    science or contemporary culture views reality.
  • Hence, it is not overambitious to detect in the poetics of the "open" work – and even less
    so in the "work in movement” – more or less specific overtones of trends in
    contemporary scientific thought.
  • The notion of "possibility" is a philosophical canon which reflects a widespread
    tendency in contemporary science; the discarding of a static, syllogistic view of order,
    and a corresponding devolution of intellectual authority to personal decision, choice,
    and social context.
  • The two-value truth logic
    which follows the classical aut-aut, the disjunctive dilemma between true and false, a
    fact and its contradictory, is no longer the only instrument of philosophical experiment.
    Multi-value logics are now gaining currency, and these are quite capable of incorporating
    indeterminacy as a valid stepping-stone in the cognitive process. In this general
    intellectual atmosphere, the poetics of the open work is peculiarly relevant: it posits the
    work of art stripped of necessary and foreseeable conclusions, works in which the
    performer's freedom functions as part of the discontinuity which contemporary physics
    recognizes, not as an element of disorientation, but as an essential stage in all scientific
    verification procedures and also as the verifiable pattern of events in the subatomic
    world.
  • Here are no privileged points of view, and all available perspectives are
    equally valid and rich in potential.
  • This is not the place to pass judgment on the scientific validity of the metaphysical
    construct implied by Einstein's system. But there is a striking analogy between his
    universe and the universe of the work in movement
  • Therefore, to sum up, we can say that the "work in movement" is the
    possibility of numerous different personal interventions, but it is not an amorphous
    invitation to indiscriminate participation. The invitation offers the performer the
    opportunity for an oriented insertion into something which always remains the world
    intended by the author.
  • All these examples of "open" works and "works in movement" have this latent
    characteristic, which guarantees that they will al- ways be seen as "works" and not just
    as a conglomeration of random components ready to emerge from the chaos in which
    they previously stood and permitted to assume any form whatsoever.
  • Now, a dictionary clearly presents us with thousands upon thou- sands of words which
    we could freely use to compose poetry, essays on physics, anonymous letters, or
    grocery lists. In this sense the dictionary is clearly open to the reconstitution of its raw
    material in any way that the manipulator wishes. But this does not make it a "work." The
    "openness" and dynamism of an artistic work consist in factors which make it susceptible
    to a whole range of integrations. They provide it with organic complements which they
    graft into the structural vitality which the work already possesses, even if it is incomplete.
    This structural vitality is still seen as a positive property of the work, even though it
    admits of all kinds of different conclusions and solutions for it
  • We have, therefore, seen that (1) "open" works, insofar as they are in movement, are
    characterized by the invitation to make the work together with the author and that (2) on
    a wider level (as a subgenus in the species "work in movement") there exist works
    which, though organically completed, are "open" to a continuous generation of internal
    relations which the addressee must uncover and select in his act of perceiving the
    totality of incoming stimuli. (3) Every work of art, even though it is produced by following
    an explicit or implicit poetics of necessity, is effectively open to a virtually unlimited range
  • of possible readings, each of which causes the work to acquire new vitality in terms of
    one particular taste, or perspective, or personal performance
  • The poetic theory or practice of the "work in movement" senses this possibility as a
    specific vocation. It allies itself openly and selfconsciously to current trends in scientific
    method and puts into action and tangible form the very trend which aesthetics has
  • already acknowledged as the general background to performance. These poetic
    systems recognize "openness" as the fundamental possibility of the contemporary artist
    or consumer.
  • The poetics of the "work in movement" (and partly that of the "open" work)
    sets in motion a new cycle of relations between the artist and his audience, a new
    mechanics of aesthetic perception, a different status for the artistic product in
    contemporary society. It opens a new page in sociology and in pedagogy, as well as a
    new chapter in the history of art. It poses new practical problems by organizing new
    communicative situations. In short, it installs a new relationship between the
    contemplation and the utilization of a work of art.
Nele Noppe

The World According to Eco - 0 views

themodernword.com/...eco_wired97.html

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  • Then there's his idea that any text is created as much by the reader as by the author, a dogma that invaded the lit crit departments of American universities in the mid-'70s and that underlies thinking about text in cyberspace and who it belongs to. Eco, mind you, got his flag in first, with his 1962 manifesto Opera aperta (The Open Work).
  • Because before you start talking about a Minister of Culture you have to decide what you mean by "culture." If it refers to the aesthetic products of the past -- beautiful paintings, old buildings, medieval manuscripts -- then I'm all in favor of state protection; but that job is already taken care of by the Heritage Ministry. So that leaves "culture" in the sense of ongoing creative work -- and I'm afraid that I can't support a body that attempts to encourage and subsidize this. Creativity can only be anarchic, capitalist, Darwinian.

  • And how about your own sense of time? If you had the chance to travel in time, would you go backward or forward - and by how many years?

    And you, sir, if you had the chance to ask someone else that question, who would you ask? Joking aside, I already travel in the past: haven't you read my novels? And as for the future - haven't you read this interview?

Nele Noppe

The Future of the Book - 0 views

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  • The present and
    the forthcoming young generation is and will be a computer-
    oriented generation. The main feature of a computer screen is that
    it hosts and displays more alphabetic letters than images.
  • Moreover, the new generation is trained to read at an incredible
    speed. An old-fashioned university professor is today incapable of
    reading a computer screen at the same speed as a teenager
  • I am a rare-book collector, and I feel
    delighted when I read the seventeenth-century titles that took one
    page and sometimes more. They look like the titles of Lina
    Wertmuller's movies. The introductions were several pages long.
    They started with elaborate courtesy formulas praising the ideal
    addressee, usually an emperor or a pope, and lasted for pages and
    pages explaining in a very baroque style the purposes and the
    virtues of the text to follow. If baroque writers read our
    contemporary scholarly books they would be horrified. Introductions
    are one-page long, briefly outline the subject matter of the book,
    thank some national or international endowment for a generous
    grant, shortly explain that the book has been made possible by the
    love and understanding of a wife or husband and of some children,
    and credit a secretary for having patiently typed the manuscript. We
    understand perfectly the whole of human and academic ordeals
    revealed by those few lines, the hundreds of nights spent
    underlining photocopies, the innumerable frozen hamburgers eaten
    in a hurry....
    But I imagine that in the near future we will have three lines
    saying "W/c, Smith, Rockefeller," which we will decode as "I thank
    my wife and my children; this book was patiently revised by
    Professor Smith, and was made possible by the Rockefeller
    Foundation." That would be as eloquent as a baroque introduction.
    It is a problem of rhetoric and of acquaintance with a given rhetoric.
  • ...6 more annotations...
  • The quest for a new and surviving
    literacy ought not to be the quest for a preinformatic quantity. The
    enemies of literacy are hiding elsewhere
  • the radical mistake of
    irresponsible deconstructionists or of critics like Stanley Fish was to
    believe that you can do everything you want with a text. This is
    blatantly false. Busa's hypertext on the Aquinas corpus is a
    marvelous instrument, but you cannot use it to find out a
    satisfactory definition of electricity.
  • Then there is the third possibility, the one outlined by Michael
    Joyce. We may conceive of hypertexts which are unlimited and
    infinite. Every user can add something, and you can implement a
    sort of jazzlike unending story. At this point the classical notion of
    authorship certainly disappears, and we have a new way to
    implement free creativity. As the author of The Open Work I can
    only hail such a possibility. However there is a difference between
    implementing the activity of producing texts and the existence of
    produced texts. We shall have a new culture in which there will be a
    difference between producing infinitely many texts and interpreting
    precisely a finite number of texts. That is what happens in our
    present culture, in which we evaluate differently a recorded
    performance of Beethoven's Fifth and a new instance of a New
    Orleans jam session
  • The
    problem is in saying that we have replaced an old thing with
    another one; we have both, thank God. TV zapping is an activity
    that has nothing to do with reading a movie
  • Debray has reminded us that the invention of the photograph
    has set painters free from the duty of imitation.
  • Certainly the advent of cinema or of comic strips has freed
    literature from certain narrative tasks it traditionally had to perform.
    But if there is something like postmodern literature, it exists
    because it has been largely influenced by comic strips or cinema.
    This means that in the history of culture it has never happened that
    something has simply killed something else. Something has
    profoundly changed something else
Nele Noppe

Umberto Eco and the Open Text: Semiotics, Fiction, Popular Culture (by Peter Bondanella) - 0 views

books.google.com/books

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