Lexicon of Arguments


Philosophical and Scientific Issues in Dispute
 
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Entry
Reference
Art Eco
 
Books on Amazon
I 48
Science/Art/Eco: in the open work of art you can see the resonance of some tendencies in modern science: the concept of the field comes from physics: a new understanding of the relationship between cause and effect: more complex interaction of forces. There is a departure from a static and syllogistic view of order. Indefinite relation, complementarity. ---
I 55
Reception/Eco: the work of art offers the interpreter a work to be completed. ---
I 105
Openness and disorder are relative terms! Something is ordered in comparison to a previous disorder. ---
I 138
Definition openness of the first degree: integration and knowledge mechanisms are characteristic for every process of knowledge. ---
I 139
Definition second-degree openness: grasping that constantly open process, it allows us to perceive new contours and new possibilities for a form. ---
I 149
Openness: the recipient has freedom of choice. ---
I 160
Art/Science/Eco: certain structures in art appear as epistemological metaphors, as structural decisions of a diffuse theoretical consciousness (not of a particular theory, but cultural belief). Mirroring certain achievements of modern scientific methodology in categories of uncertainty, statistical distribution. Bivalent logic, causality and the principle of the excluded middle are called into question.
---
I 163
Art/Science/Cubism: parallels to non-Euclidean geometry. Parallel between Hilbert's attempts to axiomatize geometry and neoplasticism and constructivism. ---
I 165
Eco thesis: in a world where the discontinuity of phenomena has called into question the possibility of a unified and definitive view of the world, open art shows us a way of seeing and recognizing this world and of integrating our sensitivity. This discontinuity is not narrated but it is art. ((s)VsEco: strongly affirmative attitude: that it is about recognizing the world.) ---
I 260
Alienation/Art/Eco: Epigones have become alienated from a habit that now fixes them without allowing them to move in an original and free way.

Eco I
U. Eco
Das offene Kunstwerk Frankfurt/M. 1977

Eco II
U, Eco
Einführung in die Semiotik München 1972

Literature Eco
 
Books on Amazon
I 32
Bible/Allegory/Middle Ages/Holy Scripture/Hermeneutics/Eco: the Holy Scripture could be interpreted in three different ways: E.g. Jacob in Egypt: literally: the children of Israel leave Egypt
1. Allegory: our redemption through Christ
2. morally: turning the soul of sorrow and misery into a state of grace.
3. anagogical: Exit of the holy soul from the bondage of this corruption to freedom of eternal glory.
---
I 36
Novalis/Eco: pure evocative power of poetry as an art of indeterminate sense and imprecise meaning. ---
I 37
Mallarmé: "It must be avoided that a single sense is imposed". ---
I 200
Drama/Tragedy/Eco: Terminology: the deeper layers are called "action". Action: unambiguous, action: ambiguous, inexhaustible. ---
I 206
Literature/Art/Life/Eco: it is only natural that life is more like the Ulysses than the three musketeers. Nevertheless, we are all more inclined to think it in the categories of the three musketeers than in those of Ulysses. Or rather: I can only remember and judge life when I think of it as a traditional novel. ---
I 258
Rhyme: First stimulates invention, pleasant sound structure,... ---
I 259
..later, the rhyme will make us a prisoner. The rhyme gives birth to the rhyming lexicon, which at first becomes the repertoire of words to be rhymed, but later becomes the repertoire of the already rhymed. > alienation. ---
Eco I passim
Openness/Literature: Eco speaks of complexity and inaccuracy of the relationships of the figures. ((s) Think form: inaccuracy as an objective property. ---
I 290
Robbe Grillet/Nouveau novel: "The world is neither meaningful nor absurd: it is... around us, things are there. Its surface is clean and smooth, untouched, but without ambiguous shine and transparency. First the objects and gestures should prove their existence through their presence. Being here should prevail over any explanatory theory that wanted to lock it up. Sense and absurdity are not objective qualities! ((s) Robbe-GrilletVsEco.) ---
I 282/283
CalvinoVsRobbe Grillet: warned against the flooding and disturbing presence of a "sea of objectivity". Talking about this sea in seemingly objective terms means a return of "objectivity" to a human universe. ---
I 284
Robbe Grillet: would like to achieve a view that is not distorted by an interest in things through his narrative technique. (according to Eco). Robbe Grillet/Eco: Against him, one can perhaps interpret it this way: the narrator does not define things as alien and metaphysical entities in no relation to us.
On the contrary, he determines a special kind of relationship between us and the things, a mode of "intentioning" the things that are unique to us. Instead of letting things be simple, he takes them to the area of a design operation that becomes a judgement on them. (I 284)
(Not Robbe Grillet's own interpretation).
---
I 285
EcoVsRobbe Grillet: he is right when he thinks that the narrative structure must remain below the different interpretations. He is wrong when he believes that it is deprived of them because it is foreign to them. It is not a foreign for them, but rather the sentence function of a number of situations in which we find ourselves set up in a language that had already spoken so much, that it is. ---
I 286
Sartre: was confused that the representatives of the Nouveau novel side by side with him signed politically committed manifestos. ---
I 290
Balzac: Marx and Engels: were reactionary and legitimistically, has basically no interest in certain problems and agreed with the world in which he lived. Eco: he has, however, clarified their connections so clearly that he, at least in his work, did not remain their prisoner. ---
I 291
Modern literature/Eco: can no longer analyze the world in such a way that it turns to a subject. Rather, it changes the disposition of a certain structural articulation of the subject. By turning articulation into a subject and dissolving the actual content of the work. ---
II 148 Footnote
Literature/Rhyme/Jakobson/Eco: Jakobson masterfully analyses the rhyme as a relational factor, where the equivalence of the sound - projects onto the sequence as his constituent principle - inevitably implies semantic equivalence. (R. Jakobson, "Closing Statement: Linguistics and Poetics"; Style in Language, ed. T. A. Seboek, (1960).).

Eco I
U. Eco
Das offene Kunstwerk Frankfurt/M. 1977

Eco II
U, Eco
Einführung in die Semiotik München 1972