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The possibilities which the work's openness makes available always work within a given field of relations. As in the Einsteinian universe, in the 'work in movement' we may well deny that there is a single prescribed point of view. But this does not mean complete chaos in its internal relations. What it does imply is an organizing rule which governs these relations. 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 chance of an oriented insertion into something which always remains the world intended by the author. |
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In other words, the author offers the interpreter, the performer, the addressee a work to be completed. He does not know the exact fashion in which his work will be concluded, but he is aware that once completed the work in question will still be his own. It will not be a different work, and, at the end of the interpretative dialogue, a form which is his form, will have been organized, even though it may have been assembled by an outside party in a particular way that he could not have foreseen. The author is the one who proposed a number of possibilities which had already been rationally organized, oriented, and endowed with specifications for proper development. |
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Berio's Sequence, which is played by different flutists, Stockhausen's Klavierstück XI, or Pousseur's Mobiles, which are played by different pianists (or performed twice over by the same pianists), will never be quite the same on different occasions. Yet they will never be gratuitously different. They are to be seen as the actualization of a series of consequences whose premises are firmly rooted in the original data provided by the author. |
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This happens in the musical works which we have already examined, and it happens also in the plastic artifacts we considered. The common factor is a mutability which is always deployed within the specific limits of a given taste, or of predetermined formal tendencies, and is authorized by the concrete pliability of the material offered for the performer's manipulation. Brecht's plays appear to elicit free and arbitrary response on the part of the audience. Yet they are also rhetorically constructed in such a way as to elicit a reaction oriented toward, and ultimately anticipating, a Marxist dialectic logic as the basis for the whole field of possible responses. |
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All these examples of 'open' works and works in movement have this latent characteristic which guarantees that they will always 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. |
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Now, a dictionary clearly presents us with thousands upon thousands |
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