https://pages.jh.edu/jhumag/0499web/opera.html

One of Dale Keiger's favorite pieces of his own work.

Rhiannon Giddens - Julie's Aria (Official Audio)

https://www.nytimes.com/2023/05/08/arts/music/rhiannon-giddens-michael-abels-pulitzer-prize-for-music-omar.html

OMAR'S JOURNEY – World Premiere - Ojai Music Festival

https://www.oberlin.edu/news/rhiannon-giddens-00-wins-2023-pulitzer-prize-music

js var biography = document.getItems("http://example.org/biography")[0]; alert('Hi there ' + biography.properties['name'][0].textContent + '!');

https://en.wikipedia.org/wiki/Open_text

Within the field of semiotic analysis, an open text is one that can be interpreted by readers in a variety of ways. By way of contrast, a closed text prompts the reader to only one interpretation.

Given the definition of an open text (opera aperta), in practice, the Bible may be one of the most open texts ever written despite its more likely original intention of it being a strictly closed text.

What does a spectrum of open to closed look like? Can it be applied to other physical forms that could potentially be open to interpretation? Consider art, for example, which by general nature is far more open to interpretation (an open "text") and rarely are there artworks which are completely closed to a single interpretation.

How does time and changing audiences/publics affect a work? The Bible may have been meant as a closed text in its original historical context, but time and politics have shown it to be one of the most spectacularly open texts ever written.

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"?

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?

link to: https://hyp.is/dBTiCsDWEeyyn7dYEp3oUA/en.wikipedia.org/wiki/Open_text

Umberto Eco indicates that every work of art can be read in one of three ways: - moral, - allegorical - anagogical

Compare this to early Christianities which had various different readings of the scriptures.

Relate this also to the idea of Heraclitus and the not stepping into the same river twice as a viewer can view a work multiple times in different physical and personal contexts which will change their mood and interpretation of the work.

Is the zettelkasten potentially an example of one of the most open texts one can create?

I believe Umberto Eco kept one or had a note taking system similar to it.

Denis Hollier suggests that the index card file is "the best support for the opera aperta, whose desire was pervasive in the 1950s and 1960s."

https://artsandculture.google.com/experiment/blob-opera/AAHWrq360NcGbw?cp=e30.

Comparison of Gounod and The Master and Margarita

Amadis was the son of King Perion of Gaul. His story appears in five operas, including operas by George Friedrich Handel (1715) and Johann Christian Bach (1779).