Umberto Eco on Artworks - Dictionary of Arguments
Artwork/Eco: an artwork is at the same time a trace of what it wanted to be and what it actually is.
"Open work of art"/Eco: an "open work of art" is what A. Riegl called "artful" and Panofsky described it (securing 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.
Open work of art/Eco: only after the Romantic period did symbolism appear in the second half of the 19th century as a conscious poetics of the "open" work of art. This leads to an aura of the indefinite.
Open work of art: every work of art, starting with rock paintings, is open to an infinite number of forms of reception.
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 disposed for all and no openness:
It 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 even if the artist does not strive for ambiguity but unambiguousness.
Definition Openness/Eco: openness is an increase in information._____________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