This chapter contains section titled: Introduction A Little Ontology A Little More Ontology Early Experiences of Literature Reading to Yourself Not Moving Your Lips Other People's Mail A Theory of Language Productions in the Mind The Effect of Words A Musical Interlude Telling Stories Predecessors The Ion Within The Eloquence of Silence Radio Plays Silent Interpretation The Critic's Role Readings as Art The Transparency of the Reading Performance Read it again, Sam Silent Soundings and Silent Performances The Other Ion Literature (...) and Truth The Banality of Literary Truth Gaps and the Afterlife Another Take on the Gaps Doubts Semantic Quibbles Unuttered Conversation And for those without Voices Sight and Sound Parsimony More Parsimony? Reading as Act. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rehearsal and Hamilton’s “Ingredients Model” of Theatrical PerformanceDavid Davies (bio)IArtistic performances can be thought of as “doings”—things that are done—that share the following features of performances in general: they involve actions aimed at achieving some result; they are open, at least in principle, to public scrutiny and assessment; and they are usually presented to a relevantly informed public with the intention that they be appreciated and assessed, and perhaps (...) also with the intention that some practical goal be achieved. A performance can be classified as “artistic” in a descriptive (rather than normative) sense if it bears in one of the following ways upon the appreciation and evaluation of a focus of artistic appreciation:1 either (a) the performance is itself a focus of artistic appreciation, or (b) the performance plays an essential part in the artistic appreciation and evaluation of something else that is a focus of artistic appreciation by virtue of being an instance of the latter.Many performances in the performing arts are described and treated as performances of something else that is itself an artwork of some kind. We can term the latter a “performed work” and the former a “work-performance.” A work-performance, insofar as it is an instance of a performed work that bears upon its proper artistic appreciation and evaluation, qualifies as artistic in sense (b). Arguably, a work-performance can itself be an object of artistic appreciation and evaluation and thereby also qualify as artistic in sense (a).2 Where we have an artistic practice in which some acknowledged artworks are designed to be performed works, the practice qualifies as what I shall term a “performance art.” The latter is an artistic practice in which our access to, and appreciation of, works (as receivers) is at least in part mediated [End Page 23] by performances of those works. Drama, music, and dance are usually taken to be performance arts in this sense. Intuitively, our access to performed works in the performance arts is at least in part mediated by performances because certain qualities of those works—relevant to their proper appreciation as the particular works they are—are only realizable, and thereby made apparent to receivers, in performances.Philosophical discussion of the performing arts has largely been concerned with performances taking place in the performance arts as characterized above, and thus with performances of performed works. Indeed, most philosophical discussion of the performing arts has focused on performances of performed works of classical music, the assumption being that the model seen to apply to such examples—what we may term “the classical paradigm”—also applies, with very few exceptions, to performances in other musical genres (in particular, jazz and rock) and to performances in other performance media (in particular, theater and dance). In all of these cases, it has been widely assumed, performances are generally of works, and the work-performance relationship is to be understood on the model of the classical paradigm. Performances not obviously open to such an analysis—free improvisations in music or dance, for example—have been viewed either as limiting cases of the classical paradigm or as of only marginal interest for a philosophical treatment of the performing arts.IIOne among the many virtues of James Hamilton’s book is that it challenges the hegemony of the classical paradigm in the performing arts by questioning its applicability to theatrical performances. He argues instead for an “ingredients model” of the relationship between a literary script and a theatrical work. According to the ingredients model, the text produced by a playwright is merely one ingredient that theatrical performance companies take into account when they set out to create a performance.3 It is taken to be a consequence of this that “a [theatrical] performance is... never a performance of some other work nor is it ever a performance of a text or of anything initiated in a text.”4 The alternative idea that theatrical works are to be understood in terms of the classical paradigm is what Hamilton terms the “text-based” view of such works. But adherents of the views that he opposes to the ingredients model may deny that theatrical... (shrink)

What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications (...) of the dominance of recorded over live music. (shrink)

A review of David Davies, _Art as Performance_ (Blackwell, 2004).

If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which musical works are concrete objects. In (...) particular, the theory that we defend takes musical works to be fusions of performances. We defend this view from a series of objections, the first two of which are raised by Julian Dodd in a recent paper and the last of which is suggested by some comments of his in an earlier paper. (shrink)

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

In this book the author treats art as an action performed by the artist as agent, rather than examining it from the point of view of its audience as ...

This is an examination of the criteria for identifying, evaluating, and appreciating art forms that require performance for their full realization. Unlike his contemporaries, Paul Thom concentrates on an analytical approach to evaluating music, drama, and dance. Separating performance art into its various elements enables Thom to study its nature and determine essential features and their relationships. Throughout the book, he debates traditional thought in numerous areas of the performing arts. He argues, for example, against the invisibility of the performer (...) - "the vehicle of representation in performance" - then critiques Diderot's Paradox of Performance, calling it "the most extreme formulation of the traditional valorization," and declaring that such thinking must be abandoned. Developing several lines of reasoning regarding music, Thom considers questions of incompleteness and authenticity in relation to the score, the score's function, and the sense in which musical performances are interpreted, or are open to interpretation. It is this audience interpretation that is the final ingredient in the blending and interrelating of the performers, the performance, and the audience. Thom discusses the impact of music, drama, and dance performances on audiences, and evaluates their expectations, reception, and interpretations. He contends that audiences play an active role as interpreters, without becoming performers themselves. Author note: Paul Thom is head of the Philosophy Department, The Faculties, Australian National University. (shrink)

In 1907, Alfred Stieglitz took what was to become one of his signature photographs, The Steerage. Stieglitz stood at the rear of the ocean liner Kaiser Wilhelm II and photographed the decks, first-class passengers above and steerage passengers below, carefully exposing the film to their reflected light. Later, in the darkroom, Stieglitz developed this film and made a number of prints from the resulting negative. The photograph is a familiar one, an enduring piece of social commentary, but what exactly is (...) The Steerage which Stieglitz has given us? It is clearer what The Steerage is not. It is distinct from each of its prints and from its negative. These may be dusty or torn without The Steerage being so, and any one of these could be destroyed without thereby destroying The Steerage itself. Nor is The Steerage the set of its prints. The set could not have had different members, while The Steerage could have had more, fewer, or different prints.1 Similar reasoning rules out the mereological sum of parts of its actual prints, for The Steerage’s prints might not have comprised just these parts. We are left with a puzzle, what sort of thing is a photograph? This puzzle is not unique to photography. Similar reasoning generates an analogous puzzle for any repeatable work of art. Novels, poems, plays, symphonies, songs, and the rest share an ontological predicament and create a 1 general puzzle concerning the ontological status of repeatable works of art. It is widely held that the puzzle has an equally general solution, one which I will argue fails for systematic reasons. Although my target here is the supposed solution to the general problem, photography will remain the central case under scrutiny. I offer it as a model for our thinking about the wider class in order to reap the benefits of thinking in terms of concrete cases. Although this risks a trade-off with the generality of my conclusions—there are important differences of detail between the cases—I hope it is clear that the considerations I appeal to in photography are not idiosyncratic but shared by the wider class.. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: that musical works possess perceptual properties and universals do not; that musical works are created and universals cannot be; that universals cannot be destroyed and musical works can; that parts of tokens of the same type can be interchanged (...) and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, and seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas and just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

"In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...

I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...) is usually accorded. CiteULike Connotea Del.icio.us What's this? (shrink)

I argue that the work of art in rock music is a track constructed in the studio, that tracks usually manifest songs, which can be performed live, and that a cover version is a track (successfully) intended to manifest the same song as some other track. This ontology reflects the way informed audiences talk about rock. It recognizes not only the centrality of recorded tracks to the tradition, as discussed by Theodore Gracyk, but also the value accorded to live performance (...) skills, emphasized by Stephen Davies. (shrink)

_The Performance of Reading_ argues that there are distinct analogies between "silent" reading and artistic performance, and so fashions the new role of the reader as performer. An original and insightful exploration of the act of reading by the leading scholar in the field. Discusses the history of reading and the transitions from reading aloud to reading silently, and the changing role of literature as communal, active experience to a more private endeavor.

What defines a work of art and determines the way in which we respond to it? This classic reflection was written with the belief that the nature of art has to be understood simultaneously from the artist's as well as the spectator's viewpoint.

This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come to understand how (...) other cultural and social objects are established on the basis of the independent physical world and the mental states of human beings. (shrink)

_The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.

What is unique and essential about theatre? What separates it from other arts? Do we need 'theatre' in some fundamental way? The art of theatre, as Paul Woodruff says in this elegant and unique book, is as necessary-and as powerful-as language itself. Defining theatre broadly, including sporting events and social rituals, he treats traditional theatre as only one possibility in an art that-at its most powerful-can change lives and bring a divine presence to earth. The Necessity of Theater analyzes the (...) unique power of theatre by separating it into the twin arts of watching and being watched, practiced together in harmony by watchers and the watched. Whereas performers practice the art of being watched-making their actions worth watching, and paying attention to action, choice, plot, character, mimesis, and the sacredness of performance space-audiences practice the art of watching: paying close attention. A good audience is emotionally engaged as spectators; their engagement takes a form of empathy that can lead to a special kind of human wisdom. As Plato implied, theatre cannot teach us transcendent truths, but it can teach us about ourselves. Characteristically thoughtful, probing, and original, Paul Woodruff makes the case for theatre as a unique form of expression connected to our most human insticts. The Necessity of Theater should appeal to anyone seriously interested or involved in theatre or performance more broadly. (shrink)

In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights core topics (...) in aesthetics and art theory, including traditional theories about the nature of art, aesthetic appreciation, artistic intentions, performance, and artistic meaning. (shrink)