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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.

it is obvious that works like those of Berio and Stockhausen are "open" in a far more tangible sense.

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:

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.

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

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

already acknowledged as the general background to performance. These poetic systems recognize "openness" as the fundamental possibility of the contemporary artist or consumer.

scratch the surface and the result of those practices is that women are seriously disadvantaged.

If the "wrong" people overcome the prohibitions and manage to write, the work is often made to vanish, usually through the ordinary, polite workings of class privilege. The widespread blindness to the work is based on illogical assumptions that are accepted as reasonable and never questioned. In fact, questioning the silence is considered rude and boorish,

certain topics are considered more important than others, based on an idea of how "universal" they are, and therefore art about them is innately more valuable.

that books can be misread due to assumptions about the author, so for instance, before Wuthering Heights was known to be written by a woman, it was considered by critics to be about the nature of evil, and afterwards, it was considered a romance.

[Pollution of Agency and the Double Standard of Content are clearly aspects related to the general contempt in which fanfiction is held by the wider writing community--it's just porn; it's all about men doing boring domestic stuff; they aren't even men, they're written like fourteen year old girls; only crazy, obsessive stalkers write that stuff; it's all so derivative and unoriginal, such a waste of talent.]

This is when works or authors are belittled by assigning them to the wrong category, or arranging categories so that all the "wrong" people don't fit the prestigious ones.

When a work by the "wrong" person actually makes it into the canon of Literature or Serious Art, it is only because they are one of a kind who produced this one thing out of the blue.

because successful women's writing is isolated from its influences, it is often accused of having a poor or informal style

Anomalousness.She wrote it, but there are very few of her.

Lack of Models.While it's clear that women don't write in a vacuum, the disappearance of so many "wrong" works from the mid- to long-term literary record means that each new generation of women artists has to find or make a new network of their own.

Responses.This is another fascinating chapter, which looks at the ways in which women have faced the silence and decided to write anyway.

Fanfiction writers may conceive of what is being made in different ways (art, craft, fun, porn, and so on), but there is no question, at least within the bounds of the subculture, that we can write! That is quite a different expectation to that of the wider world,

Aesthetics.This chapter discusses the impact of not having a visible female tradition on art in general. For a start, it means that many of the representations of women within art are deeply flawed, as they are based on stereotypes. It also means the hierarchy of art is skewed so that the "masculine" values are at the top, all others at the bottom, like so:"high art" [means] man, mankind, the individual man, individuality, humans, humanity, the human figure, humanism, civilization, culture, the Greeks, the Romans, the English, Christianity, spiritual transcendence, religion, nature, true form, science, logic, creativity, action, war, virility, violence, brutality, dynamism, power, and greatness.... "low art": Africans, Orientals, Persians, Slovaks, peasants, the lower classes, women, children, savages, pagans, sensuality, pleasure, decadence, chaos, anarchy, impotence, exotica, eroticism, artifice, tattoos, cosmetics, ornaments, decoration, carpets, weaving, patterns, domesticity, wallpaper, fabrics, and furniture. (p. 114-5 Russ quoting Valerie Jaudon and Joyce Kozloff)

Another consequence of the focus on a male value system, is that associations are made between things like size and quality (the number of pages in a book, for instance, affects how prestigious it is); hence short stories [again: fanfiction!] are not all that important compared to novels

Women always write in the vernacular.

is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?

is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?

is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?

is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?

There is no doubt in my mind that fanfiction offers an amazing network for women writers, and given the advantages of the internet, it would be almost impossible to make this writing disappear en masse as has so often happened to women's writing in the past.

very hard to combat, as people are sure these biases are "common sense".

Do we really want to be part of a culture that endorses a silencing of women by keeping us in our places in the ghetto? Or is this beyond the purview of something we do for fun, as a hobby?

It seems to me that part of why fanfiction can so easily be written off is because we so carefully police it, keeping our work in the unpaid ghetto along with other women's crafts.

Not just because of the "silencing" issue, but because of the female poverty issue

I still think that the fanfiction community is the most amazing women's art culture I've ever experienced, and quite possibly the most amazing there has ever been, just in terms of sheer numbers and output. And perhaps that is enough; perhaps one of the foundation-stones of the fanfiction community is that it doesn't have to engage directly with capitalist imperatives, and messing with that ethos might unbalance everything.

I do feel angry, though, that this amazing outpouring of female talent is written off as nothing but derivative porn written by a bunch of crackpots. It makes me want to punch things and scream at the world, "Are you all asleep, or just deliberately stupid?"