Nathan Moody has published a brilliant post on his blog Noise Jockey dedicated to explore several things about ambivalence and its relationship to our creative decisions in sound.
I’m not talking about ambiguity. When the viewer or listener comes to your work, it’s OK to be ambiguous. The best art and design only goes halfway: The viewers themselves must ideally step up to the work and actively engage with it (or be engaged by it) in order to leave a significant emotional impact.
This is where a lot of abstract art fails. Too much mystery with too little to draw emotional interest can render the piece inaccessible even to willing viewers, a reaction that many have to the works of Rothko and Pollack, and even the much-maligned Wolff Olins Olympic logo design. Music can do this, too, when compositions are too abstract and even alienating, whether it’s some of the later works of Autechre or the atonal and complex works of Ligeti. But by leaving a few things tantalizingly uncommunicated, the audience can really engage their senses and curiosity to create a lasting impression which they, themselves, have helped create.
Ambivalence doesn’t lie in the work, or in the audience…it comes from the maker of the work. Ambivalence can be the result of making arbitrary decisions for the sake “done.” It can also come from facing an issue with the work and ignoring it or punting on it for later, and never circling back around to it.