|Abstract||“Authentic,” like its near-relations, “real,” “genuine,” and “true,” is what J.L. Austin called a “dimension word,” a term whose meaning remains uncertain until we know what dimension of its referent is being talked about. A forged painting, for example, will not be inauthentic in every respect: a Han van Meegeren forgery of a Vermeer is at one and the same time both a fake Vermeer and an authentic van Meegeren, just as a counterfeit bill may be both a fraudulent token of legal tender but at the same time a genuine piece of paper. The way the authentic/inauthentic distinction sorts out is thus context-dependent to a high degree. Mozart played on a modern grand piano might be termed inauthentic, as opposed to being played on an eighteenth-century forte-piano, even though the notes played are authentically Mozart’s. A performance of Shakespeare that is at pains to recreate Elizabethan production practices, values, and accents would be to that extent authentic, but may still be inauthentic with respect to the fact that it uses actresses for the female parts instead of boys, as would have been the case on Shakespeare’s stage. Authenticity of presentation is relevant not only to performing arts. Modern museums, for example, have been criticized for presenting old master paintings in strong lighting conditions which reveal detail, but at the same time give an overall effect that is at odds with how works would have been enjoyed in domestic spaces by their original audiences; cleaning, revarnishing, and strong illumination arguably amount to inauthentic presentation. Religious sculptures created for altars have been said to be inauthentically displayed when presented in a bare space of a modern art gallery (see Feagin 1995).|
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