- Apr 2022
He continues by comparing open works to Quantum mechanics, and he arrives at the conclusion that open works are more like Einstein's idea of the universe, which is governed by precise laws but seems random at first. The artist in those open works arranges the work carefully so it could be re-organized by another but still keep the original voice or intent of the artist.
Is physics open or closed?
Could a play, made in a zettelkasten-like structure, be performed in a way so as to keep a consistent authorial voice?
What potential applications does the idea of opera aperta have for artificial intelligence? Can it be created in such a way as to give an artificial brain a consistent "authorial voice"?
Umberto Eco makes a distinction between these kind of works, which are "open" in their interpretation, to the musical works from the beginning, which are open in their structural sense.
If Umberto Eco makes a distinction between the works which are open in interpretation and works like music which are open in their structural sense, what would he have made of viewing a work like a zettelkasten which could potentially be open in both respects?
- Aug 2020
Gruijters, Stefan L.K. ‘The Fallacy of Manipulation “Checks” in Psychological Experiments’. Preprint. PsyArXiv, 20 August 2020. https://doi.org/10.31234/osf.io/fkzv5.
- inferential confidence
- causal explanation
- compromise interpretations
- manipulations checks
- experimental results
- psychological experiments
- internal validity
- Feb 2014
Hdt. 4.108. Careful here. According to Robert Strassler in the book Histories, ancient and modern readers have interpreted this passage differently. either the Boudinoi painted their bodies blue-gray and red, or had blue-grey eyes and red hair.