Abstract
ABSTRACT Inspired by Graham Harman’s philosophy of human access, and within the ‘flattening ontology’ of Object Oriented Ontology, Ring o’ Roses is speculated about as a finite object with ontological independence from humans, repertoire, song, utility, and cultural context. Ring o’ Roses playfully dances us through an introduction to OOO, and on to the idea of young children’s early musical play as something different from its qualities and benefits. Indeed, the reality of musical play can be speculated about as ontologically irreducible, and as having a weird and vast, yet fragile, interior which is announced by allure. Allure is composed of charm, courage, and humour, and is responsible for causation.
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