Modality, Individuation, and the Ontology of Art

Canadian Journal of Philosophy 38 (4):491-517 (2008)

Abstract

In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical work—is the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory.

Download options

PhilArchive



    Upload a copy of this work     Papers currently archived: 72,855

External links

Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library

Analytics

Added to PP
2009-01-28

Downloads
194 (#62,291)

6 months
1 (#386,031)

Historical graph of downloads
How can I increase my downloads?

Author's Profile

Carl Alan Matheson
University of Manitoba

References found in this work

Essence and Modality.Kit Fine - 1994 - Philosophical Perspectives 8 (Logic and Language):1-16.
Naming and Necessity.Saul A. Kripke - 1980 - Philosophy 56 (217):431-433.
Naming and Necessity.Saul A. Kripke - 1985 - Critica 17 (49):69-71.
On the Plurality of Worlds.William G. Lycan - 1988 - Journal of Philosophy 85 (1):42-47.

View all 64 references / Add more references

Citations of this work

Aesthetic Virtues: Traits and Faculties.Tom Roberts - 2018 - Philosophical Studies 175 (2):429-447.
Intuitions in the Ontology of Musical Works.Elzė Sigutė Mikalonytė - 2022 - Review of Philosophy and Psychology 13 (2):455-474.
History of the Ontology of Art.Paisley Nathan Livingston - 2011 - Stanford Encyclopedia of Philosophy.

Add more citations

Similar books and articles

Individuation and Intentional Ascriptions.Mark Okrent - 1990 - Philosophy and Phenomenological Research 50 (3):461-480.
The Ontology of Art.Guy Rohrbaugh - 2013 - In Berys Gaut & Dominic Lopes (eds.), Routledge Companion to Aesthetics, 3rd edition. Routledge. pp. 235-45.
Ingarden and the Ontology of Cultural Objects.Amie Thomasson - 2005 - In Arkadiusz Chrudzimski (ed.), Existence, Culture, and Persons: The Ontology of Roman Ingarden. Frankfurt: pp. 115-136.
Modes of Individuation in Art.Douglas Lackey - 1988 - Philosophy Research Archives 14:567-580.