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Despite such criticisms, Ingarden has remained influential, and his ideas have continued to appear in work on art criticism and theory. In the last decades, his concepts of literary and artistic indeterminacy have regained importance in film studies, as well as in literary and cultural criticism. Indeed, Ingarden's ideas about artistic freedom have proven more attractive to film scholars than his earlier ideas about literary indeterminacy, which implied that the possibility of authorial meaning was restricted to the conventional norms and conventions of a particular art (Act 175). In Ingarden's later thinking, the very idea of meaning is understood as emerging from the material means of reception and viewing, and thus the indeterminacy of meaning shifts from the text to the viewer. Hence, the indeterminacy for Ingarden is related to what he considers to be a fundamental intuition of our perceptual life, namely that there are many possible ways to fill in the finite possibilities of the scene of perception. In Philosophisches zur Erkenntnistheorie, for instance, he explains this intuition in the following terms: "The possibility is not given us, as it would be were it predetermined, but merely in reality... That which is possible must mean actuality; possibility is actuality, is there" (Ingarden 1970, Act II:8, p. 83).

Undoubtedly, Ingarden's basic intuition was that the material components of film may well open up infinite directions of perceptual movement by shifting their physical relations to one another. Ingarden's work could thus be deemed an early precursor of the many films that later undermined the idea of stable, linear structures by playing with the notions of reality, reality and representation, and similar ideas. Furthermore, Ingarden's notion of possible concretizations is a precursor to the non-specificity of modern visual art, as for instance, the expressionist art of Wassily Kandinsky and Paul Klee. Finally, Ingarden's concept of indeterminacy constitutes an important precursor to the notions of indeterminacy and open-endedness in postmodernist thinking and art, as can be seen in the works of authors such as Jean Baudrillard, Maurice Blanchot, Gilles Deleuze, Raymond Bellour, and the works of artists such as Michael Asher, Wolfgang Pepperec, and Jean-Luc Godard. The concept of indeterminacy, or rather the indeterminacy of possible concretizations in general, has become one of the primary notions in aesthetic and post-aesthetic discourse in film. 84d34552a1

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