 The same distinctions hold across the arts, though differently in different arts, and somewhat more naturally in some than others. There is Beethoven’s D Minor Symphony (the artifact), a production of it (The Philadelphia Symphony Orchestra’s recording of it), a particular performance of it (my playing the recording last night, in my house), and particular presentations of it (mine and other people’s experiences of it last night, in my house). At least in many arts, a single artifact can have many productions; a single production can have many performances; and a single performance can give rise to many presentations. As Beardsley notes, these distinctions collapse to some extent in some of the arts, and would have to be stretched a bit to fit them all. In reading a poem silently, he says, the production is the presentation (and I would also think the performance); “in architecture, the architect’s plans are the artifact; the completed building is the production” (Aesth: 57–58) (and also presumably the performance); and in painting and sculpture, “the distinction between artifact and production almost disappears” (Aesth: 58) (with the performance presumably being identical with both).