 This is an interesting and provocative argument, but it can be questioned at several points. One of its limitations is that, even if it’s successful, it proves only that an author’s intentions are irrelevant to the correct interpretation of his text. Essentially employing speech act theory as it does, it doesn’t apply to the interpretation of works of art other than literature—paintings, sculptures, and dances, for example. This is a minor point, though, as analogous concepts are probably available, or could be introduced without too much unnaturalness, in all the arts.