  In his proposal for an alternative to contextualist ontologies of art, David Davies (2004, 2005) proposes that works of art are best classified, not as indicated structures or as action types, but as action tokens. A work of art, then, is a ‘doing’ or generative performance. Davies further analyzes the latter as a sequence of “motivated manipulations of a vehicular medium through which a particular focus of appreciation is specified” (2005a, 75). With regard to the bedeviled question of which factors in the historical context of a work’s creation do and do not determine the identity of the work (a question that is taken to be distinct from the question as to which factors are in some broad sense relevant to the work’s understanding and appreciation), Davies identifies what he calls the artist’s “primary motivation,” which governs activities that specify an artistic vehicle that articulates a given artistic content. It is these art-content-articulating manipulations of artistic vehicles that qualify as elements in the performance that is identified with the work. For example, whether an artist’s intentional ingestion of a drug during the making of the “focus of appreciation” or product of the generative performance is to be counted as part of the work depends, then, on whether this action is part of a manipulation of an artistic vehicle effectively designed to articulate some aspect of the work’s content.