Umberto Eco on Ambiguity - Dictionary of Arguments
Ambiguity/Eco: the work of art is regarded as a fundamentally ambiguous message: it is the majority of meanings in a single carrier of meaning.
"Open work of art"/Eco: an "open work of art" is what A. Riegl called "artful" and Panofsky described it (ensuring it from idealistic suspicions) as the final and definitive sense.
The model of the open work of art is independent of the actual existence as "openly" definable works of art. It is about a relationship with the recipient.
Openness/Eco: the impression of openness and totality does not have its reason in the objective stimulus, which is materially determined in itself. Not even in the subject, which is on its own accord for all and no openness disposed:...
...the impression of openness lies in the cognitive relationship in which possibilities are realized that are stimulated and directed by stimuli organized according to an aesthetic intention.
There is also openness when the artist does not strive for ambiguity, but rather for unambiguousness.
Definition Openness/Eco: openness is an increase in information.
Openness and disorder are relative concepts. Something is ordered in comparison to a previous disorder.
Definition openness of the first degree: integration and knowledge mechanisms are characteristic for every process of knowledge.
Definition second-degree openness: second-degree openness corresponds to grasping that constantly open process, which allows us to perceive new contours and new possibilities for a form.
Openness: openness means that the recipient has freedom of choice._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.
Opera aperta, Milano 1962, 1967
Das offene Kunstwerk Frankfurt/M. 1977
La struttura assente, Milano 1968
Einführung in die Semiotik München 1972