An overview of the philosophical questions raised by musical performances and recordings.

This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.

An overview of philosophical issues raised by musical performances and recordings.

In this paper I argue that the relations between musical works, performances, and recordings, are significantly different in the three traditions of Western classical, rock, and jazz music. In classical music the work of art – the enduring primary focus of critical attention – is a piece that receives various different performances. Classical recordings are best conceived of as giving the listener access to performances of works, or perhaps as performances in their own right. In rock, however, recordings are at (...) the centre of the tradition. The work of art in rock is not a piece for performance, but the track itself, as in classical electronic music. Tracks do manifest songs which may be performed live, but these are not the primary focus of critical attention in rock. In jazz, there are no works of art. This is because the primary focus of critical attention in jazz is the performance, and the relation between standard on which the performance is based and the performance itself is too dissimilar from the model of classical work-performance. Jazz recordings, however, like classical recordings, are best thought of as providing access to performances. These ontological issues are important in part because of their implications for evaluation and musical practice. If rock works are ontologically like classical electronic works, then criticism of them should focus not just on their formal harmonic structures, but on their use of timbral and spatial effects. Since classical recordings endure, but live performances do not, performers should ideally take a different attitude to work-interpretation in those two spheres. (shrink)

In this paper I address the topic of sport records and concentrate on the ontology of sport records. I argue that sport records are social facts in the sense that sport records not only depend on the physical facts of sport competitions, but also on the attitude we take towards the phenomenon—our attitude is partly constitutive of the phenomenon of sport records. In particular, the Mieto–Wassberg incident and the Larsson–McKee incident show that performance (...) class='Hi'>records should also be regarded as social facts. Lastly, I show how my view sits with the view that sports are response-sensitive. I argue that the latter gives us further reason to believe that sport records, in particular performance records, are social facts. (shrink)

Background: In prior reports, we described the design and initial performance of a fully implantable, bi-directional neural interface system for use in deep brain and other neurostimulation applications. Here we provide an update on the chronic, long-term neural sensing performance of the system using traditional 4-contact leads and extend those results to include directional 8-contact leads.Methods: Seven ovine subjects were implanted with deep brain stimulation leads at different nodes within the Circuit of Papez: four with unilateral leads in (...) the anterior nucleus of the thalamus and hippocampus; two with bilateral fornix leads, and one with bilateral hippocampal leads. The leads were connected to either an Activa PC+S® or Percept PC°ledR deep brain stimulation and recording device. Spontaneous local field potentials, evoked potentials, LFP response to stimulation, and electrode impedances were monitored chronically for periods of up to five years in these subjects.Results: The morphology, amplitude, and latencies of chronic hippocampal EPs evoked by thalamic stimulation remained stable over the duration of the study. Similarly, LFPs showed consistent spectral peaks with expected variation in absolute magnitude dependent upon behavioral state and other factors, but no systematic degradation of signal quality over time. Electrode impedances remained within expected ranges with little variation following an initial stabilization period. Coupled neural activity between the two nodes within the Papez circuit could be observed in synchronized recordings up to 5 years post-implant. The magnitude of passive LFP power recorded from directional electrode segments was indicative of the contacts that produced the greatest stimulation-induced changes in LFP power within the Papez network.Conclusion: The implanted device performed as designed, providing the ability to chronically stimulate and record neural activity within this network for up to 5 years of follow-up. (shrink)

This paper discusses the state-of-the-art dispute over the ontological question of rock music: what is the work of art, or the central work-kind, of rock music, if any? And, is the work of rock music ontologically distinct from the work of classical music, which is the only musical tradition whose ontology is vastly studied? First, I distinguish between two levels of inquiry in musical ontology: the fundamental level and the higher-order level, in which comparative ontology – the project in which (...) someone engages by considering that there is ontological variety among works of distinct musical traditions – falls. After addressing two general questions about rock music, I turn to Theodore Gracyk’s ontological account of rock music, according to which the primary focus of critical attention in rock music are recordings, or recorded tracks. This view has the consequence that ‘recordings’ is a fundamental concept of philosophy of music, necessary for us to understand rock music. Stephen Davies objected that Gracyk’s account fails to assign appropriate value to a valuable practice with which rock audiences are committed, live performance, and argued that the works of rock music are of the ontological kind for studio performance. Finally, Andrew Kania synthetized both views: rock recorded tracks are at the centre of rock as an art form, thus being the rock works. For, different reasons, none of these views is deemed satisfactory. (shrink)

Performance is an essential part of music education; however, many music professionals and students suffer from music performance anxiety (MPA). The purpose of this study was to investigate whether a 10-minute expressive writing intervention (EWI) can effectively reduce performance anxiety and improve overall performance outcomes in college-level piano students. Two groups of music students (16 piano major students and 19 group/secondary piano students) participated in the study. Piano major students performed a solo work from memory, while (...) group/secondary piano students took a sight-reading exam of an eight-measure piano musical selection. All students performed twice, at baseline and post-EWI, with two or three days between performances. During the EWI phase, students were randomly divided into two groups: an expressive writing group and a control group. Students in the expressive writing group wrote down feelings and thoughts about their upcoming performances, while students in the control group wrote about a topic unrelated to performing. Each student’s pulse was recorded immediately before performing, and each performance was videotaped. Three independent judges evaluated the recordings using a modified version of the Observational Scale for Piano Practicing (OSPP) by Gruson (1988). The results revealed that, by simply writing out their thoughts and feelings right before performing, students who had high MPA improved their performance quality significantly and reduced their MPA significantly. Our findings suggest that EWI may be a viable tool to alleviate music performance anxiety. (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.

Why would anyone purchase expensive, natural resource-intensive, and seemingly obsolete material carriers of music when streaming providers provide unlimited access to over 40 million songs for a small monthly fee? As I will show, we can no longer assume that contemporary interest is driven solely by a collector’s market or because of the audible qualities of the vinyl listening experience, and must attend to the many ways people engage with record objects today – and by extension, the vinyl record as (...) an ontological multiple. Through an analysis of Record Store Day 2015 and affiliated phenomena including YouTube unboxing videos, other social media activity and the Discogs resale market, I will demonstrate that the vinyl record gains value when the lived experience of materiality becomes an event and enables the performance of self in social contexts. As I will show, while certain types of actors have appreciably benefitted from the recent revival of interest in vinyl (e.g. brick and mortar stores, mastering engineers, manufacturing plants, and ancillary service industries), others have not to the same extent (e.g. musicians, independent record labels). (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)

Most music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered. _Musical Performance: A Philosophical Study_ considers the implications of this separation for live musical performance and music-making. Rather than examining the composition or perception of music as most philosophical accounts of music do, Stan Godlovitch takes up the problem of how the tradition of active music (...) playing and performing has been challenged by technology and what problems this poses for philosophical aesthetics. Where does does the value of musical performance lie? Is human performance of music a mere transfer medium? Is the performance of music more expressive than recorded music? Musical Performance poses questions such as these to develop a fascinating account of music today. musicians - but via some recording medium on which sound has been stored. (shrink)

Banks play a unique role in society. They not only maximize profits but also consider the interests of stakeholders. We investigate whether banks consider firms’ pollution records in their lending decisions. The evidence shows that banks offer significantly higher loan spreads, higher total borrowing costs, shorter loan maturities, and greater collateral to firms with higher levels of chemical pollution. The costly effects are stronger for borrowers with greater risk and weaker corporate governance. Further, the results show that banks with (...) higher social responsibility account for their borrowers’ environmental performance and charge higher loan spreads to those with poor performance. These results support the idea that banks with higher social responsibility can promote the practice of business ethics in firms. (shrink)

The paper discusses the preliminary results of a pilot exploratory study concerning on-record politeness strategies used by academics to soften criticism of scientific performance of other scholars and deal with judgmental opinions in relation to their own research findings. The study uses the apparatus offered by the politeness theory to get insight into the trans-cultural writer-reader communication in written academic discourse, namely, in reply to/response to articles. Methodologically, the study draws from the classic framework of linguistic politeness with reformulations (...) in order to identify ways of showing polite agreement in academic writing. The paper focuses on the general selection of and preference towards particular on-record politeness strategies used for conflict management and face redress in replies to. (shrink)

The aim of this paper is to analyse sport records and consider why there are two kinds of them: performance records and statistical records. Usain Bolt?s world record of 9.58?s in a 100?m race is a prominent example of a performance record, while an example of a statistical record is Michael Phelps? 18 Olympic gold medals. This categorisation of two types of sport record is a development of Sigmund Loland?s view. Loland focuses on performance (...) records and largely ignores statistical records; I develop Loland?s explanation of performance records and present an original description of statistical records. I also address an argument that Loland employs to challenge performance records?the record dilemma. My analysis of the relationship between performance records and statistical records reveals that a performance record is a special example of a statistical record. I also argue that the function of sport records is to direct sports towards universality, which reflects a common tendency of sports. The existence of two kinds of sport records allows this to be fully realised. (shrink)

PURPOSE—A substantial fraction of the observations made by clinicians and entered into patient records are expressed by means of negation or by using terms which contain negative qualifiers (as in “absence of pulse” or “surgical procedure not performed”). This seems at first sight to present problems for ontologies, terminologies and data repositories that adhere to a realist view and thus reject any reference to putative non-existing entities. Basic Formal Ontology (BFO) and Referent Tracking (RT) are examples of such paradigms. (...) The purpose of the research here described was to test a proposal to capture negative findings in electronic health record systems based on BFO and RT. METHODS—We analysed a series of negative findings encountered in 748 sentences taken from 41 patient charts. We classified the phenomena described in terms of the various top-level categories and relations defined in BFO, taking into account the role of negation in the corresponding descriptions. We also studied terms from SNOMED-CT containing one or other form of negation. We then explored ways to represent the described phenomena by means of the types of representational units available to realist ontologies such as BFO. RESULTS—We introduced a new family of ‘lacks’ relations into the OBO Relation Ontology. The relation lacks_part, for example, defined in terms of the positive relation part_of, holds between a particular p and a universal U when p has no instance of U as part. Since p and U both exist, assertions involving ‘lacks_part’ and its cognates meet the requirements of positivity. CONCLUSION—By expanding the OBO Relation Ontology, we were able to accommodate nearly all occurrences of negative findings in the sample studied. (shrink)

Electronic Health Records (EHRs) are organized around two kinds of statements: those reporting observations made, and those reporting acts performed. In neither case does the record involve any direct reference to what such statements are actually about. They record not: what is happening on the side of the patient, but rather: what is said about what is happening. While the need for a unique patient identifier is generally recognized, we argue that we should now move to an EHR regime (...) in which all clinically salient particulars – from the concrete disorder on the side of the patient and the body parts in which it occurs to the concrete treatments given – should be uniquely identified. This will allow us to achieve interoperability among different systems of records at the level where it really matters: in regard to what is happening in the real world. It will also allow us to keep track of particular disorders and of the effects of particular treatments in a precise and unambiguous way. We discuss the ontological and epistemological aspects of our claim and describe a scenario for implementation within EHR systems. (shrink)

Recording has transformed the nature of music as an art by reconfiguring the opposition between the aesthetics of perfection and imperfection. A precursor article, ‘The Art of Improvisation and the Aesthetics of Imperfection’, contrasted the perfectionist aesthetic of the ‘work-concept’ with the imperfectionist aesthetic of improvisation. Imperfectionist approaches to recording are purist in wanting to maintain the diachronic and synchronic integrity of the performance, which perfectionist recording creatively subverts through mixing and editing. But a purist transparency thesis cannot evade (...) the fact that the recorded image is crafted; against creative editing, however, the imperfectionist ideal of the ‘complete take’ is humanistic and anti-mechanistic, and not mere Romantic illusion. The article concludes with a discussion of the question of the artistic status of recording, and contrasts the possibility of a non-acousmatic sound art with the essentially acousmatic art of music. (shrink)

The author employs current theories from psychology and sociology to examine how recorded music is made and how we listen to it. Setting out a framework for the study of recorded music and record production, he explains how recorded music is fundamentally different to live performance, how record production influences our interpretation of musical meaning and how the various participants in the process interact with technology to produce recorded music. The book combines ideas from the ecological approach to perception, (...) embodied cognition and the social construction of technological systems to provide a summary of theoretical approaches that are applied to the sound of the music and the creative activity of production. (shrink)

The meshed control theory assumes that cognitive control and automatic processes work together in the natural attention of experts for superior performance. However, the methods adopted by previous studies limit their capacity to provide in-depth information on the neuromotor processes. This experiment tested the theory with an alternative approach. Twelve skilled golfers were recruited to perform a putting task under three conditions: (1) normal condition, with no focus instruction (NC), (2) external focus of attention condition (EC), and (3) internal (...) focus of attention condition (IC). Four blocks of 10 putts each were performed under each condition. The putting success rate and accuracy were measured and electroencephalographies (EEGs) were recorded. The behavioral results showed that the NC produced a higher putting success rate and accuracy than the EC and IC. The EEG data showed that the skilled golfers’ attentional processes in the NC initially resembled those in the EC and then moved toward those in the IC just before putting. This indicates a switch from more automatic processes to cognitive control processes while preparing to putt. The findings offer support for the meshed control theory and indicate the dynamic nature of neuromotor processes for the superior performance of athletes in challenging situations. (shrink)

Electronic health record (EHRs) have largely replaced obsolete paper medical charts. This replacement has produced an increased demand on physicians’ time and has compromised efficiency. In an attempt to overcome this perceived obstacle to productivity, physicians turned to medical scribes to perform the work required by EHRs. In doing so, they have introduced an uninvited participant in the physician-patient relationship and compromised patients’ confidentiality. Scribes may be a successful work around for physicians frustrated by EHRs, but patients’ confidentiality should not (...) be sacrificed in the process. (shrink)

It is proposed that one musically interesting way to characterise and compare different performances or recordings of the same piece is by correlating them with different Schenkerian interpretations through the medium of grouping. This approach is demonstrated through an examination of four 'either/or' passages from the first movement of Beethoven's Piano Sonata in E Major, Op. 81a, passages in which at least two Schenkerian interpretations are possible. Schenker's own published and unpublished sketches, among others, are considered alongside recordings by Vladimir (...) Ashkenazy, Emil Gilels, Richard Goode, Murray Perahia and Artur Rubinstein. The approach is not meant to be self-sufficient, but rather to contribute a new set of tools to the emerging multidisciplinary field of performance studies. (shrink)

Performance is increasingly important to the poet, which is evidenced by the growing numbers of videos and audio recordings online including YouTube, the National Poetry library, and Poetry Archive. As a result, there are greater opportunities to engage with poets reading their own work and consequently, there is a need to move away from thinking of poetry as primary something that takes shape on the page. Furthermore, by refocusing attention to poetry as an oral artform, in particular to poetry (...) performance, different ways of understanding the value of poetry come to the fore. The live poetry performance, I argue, offers an attempt to reclaim the personal individual expression of language in contemporary society and demands attention by the audience because of the role of voice and body in the performance. Through awareness of ‘uniqueness of voice,’ the performed poem becomes a site of collective meaning making with individual identity intact as a shared endeavour between performer and audience, and necessarily resists appropriation (in the sense that the words experienced cannot be divorced from the performer or the performance space to serve as a proxy for meaning elsewhere). This chapter therefore makes an argument for the need to engage with spoken word and performance poetry in the live performance space. (shrink)

The use of performance feedback in the workplace has gained popularity over the years, yet school heads have been challenged in providing it to teachers. In the initial interview, they shared that evaluation results can impact teachers’ motivation, and that feedback should be done carefully. However, they failed to clearly articulate a specific mechanism that had been applied in this vital role. Also, no studies have provided clear detail on the feedback mechanism used by school heads in the past. (...) For this reason, a study explored the feedback mechanisms employed by school heads in conveying the performance evaluation results to teachers. This study employed a narrative inquiry, and interviews were conducted with five school heads and five teachers who were chosen purposively for this research. Responses were recorded using a voice recorder. These responses were transcribed and analyzed using thematic narrative analysis. Based on transcripts, the study identified six emergent themes, such as conversational (one-on-one), relational, reflective, technical, reinforcing, and properly situated mechanisms in conveying performance evaluation results to teachers. Thus, a new feedback mechanism framework was developed. (shrink)

Two fundamental business ethics issues that repeatedly surface in the academic literature relate to business's role in the development of public policy [Suarez, S. L.: 2000, Does Business Learn? (The University of Michigan Press, Ann Arbor, MI); Roberts, R. W. and D. D. Bobek: 2004, Accounting, Organizations and Society 29(5-6), 565-590] and its role in responsibly managing the natural environment [Newton, L.: 2005, Business Ethics and the Natural Environment (Blackwell Publishing, Oxford)]. When studied together, researchers often examine if, and how, (...) corporations influence environmental policy decisions. Drawing from literatures on corporate political activity, corporate social and environmental performance, and corporate environmental disclosure, we develop and empirically examine two research questions concerning the relations between corporate political expenditures, environmental performance, and environmental disclosure. The questions are: (1) Do corporations that are poorer environmental performers spend more on political activities than their better-performing counterparts? (2) Is there an association between corporations' spending on political activities and the extent of their financial report environmental disclosures? We investigated these questions through analyses of data we gathered on a sample consisting of 119 U.S. environmentally sensitive firms for the 2001-2002 election cycle. After controlling for firm size and specific industry effects, our tests reveal a significant, inverse relationship between firm environmental performance and political spending. This is consistent with the notion that U.S. firms with relatively poorer environmental performance records engage more intensely in corporate political activities as part of their overall strategic management of their relationship with the state. In addition, a significant and positive association between the amount of political spending and the extent of environmental disclosure suggests that environmental disclosure and political spending are both proactive, complementary tactics to strategically manage public policy pressure. If corporations' strategies are intentionally designed to unreasonably limit their environmental responsibilities or to misrepresent firm environmental performance, then we argue that these activities reflect a significant lapse in ethical conduct. (shrink)

In the philosophy of music and in musicology, apart from ethnomusicology, there is a long tradition of focus on musical compositions as objects of inquiry. But in both disciplines, a body of recent work focuses on the place of performance in the making of music. Most of this work, however, still takes for granted that compositions, at least in Western art music, are the primary objects of aesthetic attention. In this paper I focus on aesthetic attention to the performing (...) activity itself. I begin by roughly characterizing what is involved in attending to the performing activity of musical performers. I then argue that such attention is essential to the full appreciation of the central compositions of the Western art music canon. Finally, I argue that, often enough, recordings provide a suitable vehicle for this sort of attention; listeners to recordings can use them to listen to musical performance. (shrink)

In the 20th century, the boundaries of psychosis emerged as an area in which psychiatric judgement faced numerous and profound uncertainties. Between obvious neuroses and personality and reactive disorders on the one hand, and unquestionable psychoses on the other, psychiatrists faced a world of suspected cases of schizophrenia, doubtful personality disorder diagnoses or probable cases of psychosis constituting a garden of equivocal clinical presentations in which both individual psychiatrists and the discipline as a whole were confronted with the limits of (...) their knowledge. This article examines how psychiatrists from two German university clinics managed the multiple uncertainties involved in diagnosing cases of early psychosis between 1950 and 1980. Based on the analysis of a sample of records, we propose a pragmatic interpretation of the ways in which these uncertainties were recorded by psychiatrists. How were uncertainties and doubts expressed in the records and managed by clinicians? What means were used to dispel doubt? What were the consequences for patients of these diagnostic uncertainties? The article defines an uncertainty diagnosis as a diagnosis expressed with reservations by its author and recorded as such in a medical file. Depending on the nature of the uncertainty, the types of evidence used by the professionals and how this evidence was dealt with, we have identified three types of uncertainty diagnoses: suspicion, plausibility and probability diagnoses. The article then reflects on the role of the patients themselves in shaping these uncertain situations. (shrink)

In recent years, there has been growing interest in bridging bodies of knowledge from introspective and contemplative traditions with modern neuroscience. By making the primary object of study an individual’s subjective experience, scientists are then confronted with the challenging problem of how to record a given mental state at a given point in time. For simple experiences, such as in facial recognition tasks, an external recording device such as a button box or computer keyboard is adequate. However, these devices pose (...) fundamental problems when attempting to record more subtle states of mind, or to do so in situations where the presence of an external input device would disturb the subject, such as in the case of studying the evolution of internal states of highly advanced meditators. Here, I suggest that variants of the mnemonic techniques used in memory competitions can be used to make measurements in experiments where an external device would be impractical to use, or would unnecessarily disturb the subject. Demographic and performance data from memory competitions suggest that these techniques can be learned by ordinary subjects participating in multi-session experiments, and that, for highly trained individuals, events can be recorded at roughly 400 millisecond intervals for timescales on the order of tens of seconds, and at roughly one-second intervals for sustained periods of one hour or longer. Finally, I discuss the relationship of the current proposal to descriptive experience sampling (DES) and the visualization techniques of the Tibetan meditative tradition. (shrink)

This paper examines footraces that are paced and unpaced, and runners who are pre-arranged, designated pacers and those who are not. Although pacesetting is commonplace in footraces today, the practice challenges our conception of sport competition, the nature of competitors and the meaning of records. For example, Bale calls paced races as ‘staged experiments’ to set world records and argues that pacers were crucial in the running career of Roger Bannister. In 2011, the International Association of Athletics Federation (...) banned women’s world records in mixed gender running events, like major marathons, because women were paced by male runners. By examining these cases and others, the authors here will claim paced footraces are qualitatively different than unpaced competitions, pacers introduce peculiar motives and intentions as competitors, women should not be denied opportunities to excel and perform at their very best, and the 2011 IAAF policy is unjustified. (shrink)

Despite the recent advances in information and communication technology that have increased our ability to store and circulate information, the task of ensuring that the right sorts of information gets to the right sorts of people remains. We argue that the many efforts underway to develop efficient means for sharing information across healthcare systems and organizations would benefit from a careful analysis of human action in healthcare organizations. This in turn requires that the management of information and knowledge within healthcare (...) organizations be combined with models of resources and processes of patient care that are based on a general ontology of social interaction. The Health Level 7 (HL7) is one of several ANSI-accredited Standards Developing Organizations operating in the healthcare arena. HL7 has advanced a widely used messaging standard that enables healthcare applications to exchange clinical and administrative data in digital form. HL7 focuses on the interface requirements of the entire healthcare system and not exclusively on the requirements of one area of healthcare such as pharmacy, medical devices, imaging or insurance transactions. This has inspired the development of a powerful abstract model of patient care called the Reference Information Model (RIM). The present paper begins with an overview of the core classes of the HL7 (Version 3) RIM and a brief discussion of its “actcentered” view of healthcare. Central to this account is what is called the life cycle of events. A clinical action may progress from defined, through planned and ordered, to executed. These modalities of an action are represented as the mood of the act. We then outline the basis of an ontology of organizations, starting from the theory of speech Acts, and apply this ontology to the HL7 RIM. Special attention is given to the sorts of preconditions that must be satisfied for the successful performance of a speech act and to the sorts of entities to which speech acts give rise (e.g. obligations, claims, commitments, etc.). Finally we draw conclusions for the efficient communication and management of medical information and knowledge within and between healthcare organizations, paying special attention to the role that medical documents play in such organizations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sophistics, Rhetorics, and Performance; or, How to Really Do Things with WordsBarbara CassinTranslated by Andrew Goffey"How to do things with words?" How can you really do things with nothing but words? It seems to me that sophistics is in a way the paradigm of discourse that does things with words. Doubtless it is not a "performative" in Austin's sense of the word, although Austin's sense varies considerably in (...) extension and intension. But it is for real a discourse that operates, that transforms or creates the world, and has what I call a "world effect."Making the connection with performativity is all the more tempting, as epideixis, the word that serves in Plato to designate sophist discourse, cannot be rendered better than by "performance," on condition that "performance" is also understood in the sense of contemporary aesthetics as a "happening," an "event," an improvisation that requires engagement (Gorgias is the inventor of discourse ex tempore, according to Philostratus)—something like an "exploit."1"Performative" is Austin's own invention, acclimated to French by Austin himself at a colloquium held at Royaumont (Austin 1962); thereafter it was immediately adopted and popularized by Émile Benveniste (1966). "Performance" is a much older term, which, after ceaseless borrowings to and fro between English and French, has seen its meaning shifted and extended accordingly. Klein's Comprehensive Etymological Dictionary of English Language (Klein 1971) maintains that in English "performer" [End Page 349] was coined from Old French parfournir (from medieval Latin perfurnire) and/or parformer; in addition French borrowed the term at least three times, if the Dictionnaire culturel de la langue francaise (Rey 2005) is to be believed: in 1869, by analogy with the vocabulary of horse races to mean the "manner of developing a subject, of executing a work in public"; in 1953, to denote "individual result in the accomplishment of a task"; and in 1963, in the wake of Chomsky, to mean the opposite of "competence." In sum, the word is a fluid, bilingual term that bridges sport (performance in the sense of a record), technique (performance in the sense of the output of a machine), psychology (performance of a test), linguistics (performance/competence), and modern art (performance in the sense of happening).Let us start with the relationship between performance and performative. It is a way to interrogate the status of rhetorics, for which Austin, without naming it, reserves a somewhat unstable place between the "locutionary" on the one hand and the "illocutionary" or performative on the other, calling it the "perlocutionary" ("per" precisely as in "performative").2But it is not of Austin that I will speak. Austin is simply the contemporary frame of reference that informs us today: he "invented" the performative as such for us, by trying to isolate it. And he never hides the difficulty, the permeability, of his taxonomy. Just one citation is enough to show the difficulty. In the seventh lecture of the twelve that make up How to Do Things with Words (quite late then) he writes: "It is time [...] to make a fresh start on the problem. We want to reconsider more generally the senses in which to say something may be to do something, or in saying something we do something (and also perhaps to consider the different case in which by saying something we do something). Perhaps some clarification and definition may help us out of our tangle. For after all, 'doing something' is a very vague expression. When we issue any utterance whatsoever, are we not 'doing something'?" (1975, 91–92).In the framework of the generalized theory of speech acts, the difference between the locutionary, the illocutionary, and the perlocutionary has for a long time been in a "tangle". It is not so easy to differentiate between the three. All three are, precisely, "acts" of language, and without doubt the categories are at once abstract, slippery, and overlapping. The "locutionary" or "constative," a "normal" statement, is an utterance that "says something"; it is an "act of saying something" (1975, 100): "The cat is on the mat" has a meaning (both a "sense" and a "reference") and is susceptible of being either true or false. For... (shrink)

This contribution focuses on legal issues raised by the audiovisual broadcasting of performing arts, which has significantly increased due to the SARS-CoV-2 pandemic. First, we contextualize this practice and briefly present the emergence and evolution of the practice of “filmed theater”, as well as any other form of performances (e.g., concert, ballet, opera) originally conceived for the stage but subsequently diffused through other channels. Secondly, we address the current legal issues that have arisen because of the increase of such practice (...) due to the containment measures taken by government. Two axes are of particular attention: the matter of copyrights and related rights, on the one hand, and the question of public financing, on the other. Concerning intellectual property, audiovisual broadcasting leads to several legal consequences and issues: effectiveness of related rights, emergence of new modes of exploitation and new authors, recognition of the recording as an original work, etc. This new practice is, moreover, likely to disrupt the categories established by public funding legal mechanisms, which are often poorly adapted to hybrid artistic objects. The objective of this part is therefore to analyze the new legal issues raised by the audiovisual distribution of performances. Finally, we go beyond exclusively legal issues to examine the very specificities of performing arts and, more specifically, the possible loss that would result from a fixation of a production on a reproducible medium, making its diffusion possible beyond the stage. (shrink)

A co-authored collaboration between a theatre practitioner and a clinical psychiatrist, this paper will examine Rough for Theatre II and Beckett’s demonstration of the way records are used to understand the human subject. Using Beckett’s play to explore interdisciplinary issues of embodiment and diagnosis, the authors will present a dialogue that makes use of the ‘best sources’ in precisely the same manner as the play’s protagonists. One of those sources will be Beckett himself, as Heron will locate the play (...) in its theatrical context through reflections upon his own practice as well as recent studies such as Beckett, Technology and the Body and Performing Embodiment in Samuel Beckett’s Drama ; another source will be the philosopher Wilhelm Windleband, whose 1901 History of Philosophy was read and noted upon by Beckett in the 1930s, as Broome will introduce a philosophical and psychiatric context to the exchange. Windelband is now a neglected figure in philosophy; but as one of the key figures of Neo-Kantianism in the late 19th century, his work was an important impetus to that of Rickert, Weber and Heidegger. Specifically, Windelband gives us the distinction between idiographic and nomothetic understanding of individuals, an approach that is of relevance to the psychiatric encounter. This academic dialogue will consider tensions between subjectivity and objectivity in clinical and performance practice, while examining Beckett’s analysis of the use of case notes and relating them back to Windelband’s ideas on the understanding of others. The dialogue took place in 2011 at the University of Warwick, and has since been edited by the authors. (shrink)

From 8 February until at least 19 April 1686, the Dublin Philosophical Society was occupied with a prodigiously talented young girl whose name was never recorded. She was less than eleven years of age, but still much older than the society itself, which had begun meeting less than three years previously. Although one of many wonders engaging the curiosity of the nascent society, this girl served a surprising range of purposes, so that accompanying her anonymity was a curious malleability. Pressed (...) into several different roles and identities, her exploitation affords a glimpse into the various qualities that could make a spectacle useful in a philosophical climate that was unique among the British Isles. The use of this girl therefore not only sheds light on the needs of a less familiar learned society, but also shows how these could differ from those of its better-understood counterparts. For a period of time, it was the versatility not of the gentlemen in Dublin, but of the prodigy they used, that best served this group on the periphery. (shrink)

Research into expertise is relatively common in cognitive science concerning expertise existing across many domains. However, much less research has examined how experts within the same domain assess the performance of their peer experts. We report the results of a modified think-aloud study conducted with 18 pilots . Pairs of same-ranked pilots were asked to rate the performance of a captain flying in a critical pre-recorded simulator scenario. Findings reveal considerable variance within performance categories, differences in the (...) process used as evidence in support of a performance rating, different numbers and types of facts identified, and differences in how specific performance events affect choice of performance category and gravity of performance assessment. Such variance is consistent with low inter-rater reliability. Because raters exhibited good, albeit imprecise, reasons and facts, a fuzzy mathematical model of performance rating was developed. The model provides good agreement with observed variations. (shrink)

The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint (...) concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece and a non-patriotic piece. Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible. (shrink)

The use of polyurethane swimsuits at the 2009 World Aquatics Championships resulted in world records being set for almost all swimming events. This paper explores the implications that the use of these performance-enhancing swimsuits had on fairness in relative and absolute outcomes in swimming. I claim that the use of ?super swimsuits? unfairly influenced relative outcomes within the competition because not all swimmers used, or had access to, the same types of swimsuit (some of which were clearly ?faster? (...) than others). Furthermore, I claim that the use of performance-enhancing swimsuits by current competitors unfairly influences inter-temporal relative outcomes. It is evident that competitors and coaches in elite swimming place great importance on making inter-temporal comparisons on the basis of absolute outcomes in the sport (as measured by a swimmer's race time). A ban on the use of super swimsuits may be justified in order to preserve the fairness of such inter-temporal comparisons, and records set using performance-enhancing swimsuits at the 2009 World Championships should be demarcated from others. (shrink)