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

Carl Alan Matheson
University of Manitoba
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.
Keywords Contemporary Philosophy  General Interest
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Reprint years 2009
ISBN(s) 0045-5091
DOI 10.1353/cjp.0.0030
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Essence and Modality.Kit Fine - 1994 - Philosophical Perspectives 8 (Logic and Language):1-16.
Naming and Necessity.Saul A. Kripke - 1985 - Critica 17 (49):69-71.
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History of the Ontology of Art.Paisley Nathan Livingston - 2011 - Stanford Encyclopedia of Philosophy.

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