Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I give (...) a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (shrink)

In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.

The consensus is that the novel—along with painting, sculpture, and architecture—should be categorized as a non-performing art. In this essay, I argue that such categorization is misguided: In fact, there is good reason to categorize the novel as a performing art. I begin by showing that x is a performing art if the following conditions are satisfied: x is an art and to fully appreciate a work of x, it is necessary to experientially engage with a performance or a performance-like (...) object. I then demonstrate that in the case of the novel, these conditions are actually satisfied. (shrink)

Despite its central focus on human freedom and individual and social emancipation, critical realism has remained surprisingly quiet on the subject of authenticity. Drawing on a review of critical realist metatheory, and a study of authentic performance in the illuminating cultural context of Early Music, this paper seeks to address this gap by exploring the significance of authenticity in today's morphogenetic society. Real authenticity is introduced as the universal human capacity to reflexively manage the inherent contradictions that arise between and (...) across our intra- and interpersonal relationships at different levels of reality. It is this dialectical, phronetic capacity that determines whether acting in line with our ultimate concerns is both good for us as individuals and the organization of better futures for all. Managing real authenticity, therefore, must be considered at the core of any possible transition theory for human flourishing. (shrink)