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Unfinished creative work
Unfinished creative work
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An unfinished portrait miniature of Oliver Cromwell by Samuel Cooper

An unfinished creative work is a painting, novel, musical composition, or other creative work, that has not been brought to a completed state. Its creator may have chosen not to finish it, deferred its completion indefinitely, or may have been prevented from doing so by circumstances beyond their control, such as death. Such pieces are often the subject of speculation as to what the finished piece would have been like had the creator completed the work. Sometimes artworks are finished by others and released posthumously. Unfinished works have had profound influences on their genres and have inspired others in their own projects. The term can also refer to ongoing work which could eventually be finished (i.e. the creator is still living) and is distinguishable from "incomplete work", which can be a work that was finished but is no longer in its complete form.

There are many reasons that a work is not completed. Works are usually stopped when their creator dies, although some, aware of their failing health, make sure that they set up the project for completion. If the work involves other people, such as a cast of actors or the subject of a portrait, it may be halted because of their unavailability. Projects that are too grandiose might never have been finished, while others should be feasible but their creator's continual unhappiness with them leads to abandonment.

Unfinished works by popular authors and artists may still be made public, sometimes in the state they were in when work was halted. Alternatively, another artist may finish the piece. In some fields work may appear unfinished, but is actually finished, such as Donatello's "non finito" technique in sculpture.

Media

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Literature

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Franz Kafka's unfinished works were released after his death despite his wishes for them to be burned.

Many acclaimed authors have left work incomplete. Some such pieces have been published posthumously, either in their incomplete state or after being finished by somebody else.

It is the job of literary executors to take charge of the work of a writer after the writer's death. They must often decide what to do with incomplete work, using their own judgement if not given explicit instructions. In some cases, this can lead to something happening to the work that was not originally intended, such as the release of Franz Kafka's unfinished writings by Max Brod when Kafka had wished for them to be destroyed. These works have become iconic in Western literature.[1] The posthumous publication of some of Ernest Hemingway's unfinished novels was met with controversy. Several books were published, but it has been suggested that it is not within the jurisdiction of Hemingway's relatives or publishers to determine whether these works should be made available to the public. For example, scholars often disapprovingly note that the version of The Garden of Eden published by Charles Scribner's Sons in 1986, though not a revision of Hemingway's original words, nonetheless omits two-thirds of the original manuscript.[2]

Mark Twain took 20 years to write three versions of The Mysterious Stranger but he did not finish any of the works, causing the problem to the unfinished mystery.

Novels can remain unfinished because the author continually rewrites the story. When enough material exists, someone else can compile and combine the work, creating a finished story from several different drafts. Mark Twain's The Mysterious Stranger was written in three different versions over a period of 20 years, none of which were completed. Twain biographer and literary executor Albert Paine combined the stories and published his version six years after Twain's death.[3] Similarly, J. R. R. Tolkien continuously rewrote The Silmarillion throughout his lifetime; a definitive version was still uncompiled at the time of his death, with some sections very fragmented. His son, Christopher Tolkien, invited fantasy fiction writer Guy Gavriel Kay to reconstruct some parts of the book, and they eventually published a final version in 1977.[4] In 1980, Christopher Tolkien published another posthumous collection of his father's unfinished work, appropriately entitled Unfinished Tales. Between 1982 and 1996, he published twelve volumes of The History of Middle-earth, a substantial portion of which is unfinished and incomplete drafts. In 2007, Christopher Tolkien published another novel from his father entitled The Children of Húrin. Like The Silmarillion, Christopher assembled the novel from various incomplete drafts.

The size of a project can be such that a piece of literature is never finished. Geoffrey Chaucer never completed The Canterbury Tales to the extensive length that he originally intended. Chaucer had, however, already written much of the work at the time of his death, and the Canterbury Tales are considered to be a seminal work despite the unfinished status.[5] English poet Edmund Spenser originally intended The Faerie Queene to consist of 12 books; even at its unfinished state—6 books were published before Spenser's death—it is the longest epic poem in the English language.[6] Honoré de Balzac, the French novelist, completed nearly 100 pieces for his novel sequence La Comédie humaine, but a planned 48 more were never finished.[7] Notes and plot outlines left behind by an author may allow a successor to complete a novel or series of novels. Frank Herbert left behind extensive notes related to his Dune universe, which led to son Brian Herbert and science fiction author Kevin J. Anderson's completing several prequels to the popular series.[8] Mervyn Peake, author of the Gormenghast novels, meant to write a complete biography of the main character, Titus, but died after only completing three books in the series. (His notes for a fourth novel were compiled into the book Titus Awakes by Peake's widow.) The Familiar, a book series written by Mark Z. Danielewski and ambitiously planned to span 27 installments that are each over 800 pages long with interlocking characters and stories, prematurely stopped at less than 20% complete after the fifth volume, Redwood, in 2018, when poor sales forced its publisher, Pantheon Books, to drop support for it.[9] Another famous example of an unfinished book series is George R. R. Martin's dark epic high fantasy series A Song of Ice and Fire, which was planned to comprise seven books, but only five have been published as of 2024, the sixth book, The Winds of Winter, which Martin began writing circa 2010 still being incomplete. When the series' television adaptation, Game of Thrones, finished adapting the first five books over the course of five seasons while Winds was incomplete, Martin was able to give the series showrunners an outline on what Winds' story was meant to be like,[10] so that they could continue the series uninterrupted and mix in some original content instead of disappointing fans with a delay of the final seasons of the series.

Some works are presented as separate sections, each written at different times. This can lead to a piece appearing complete while the author actually intended for it to continue, or where other authors try to fake their own writing as part of the work. The first four cantos of Lord Byron's narrative poem Don Juan were written in 1818 and 1819, with a further twelve completed and published before his death in 1824. Numerous "continuations" of the story had been published by various publishing houses even between issues of the story, along with several fake conclusions. Byron had intended to continue the story, as evidenced by the find of the 17th canto after his death, but it is not clear how long the poem would continue or how it would conclude. It is still regarded as one of his greatest achievements.[11] Charles Dickens was writing The Mystery of Edwin Drood in monthly installments when he died, completing just six of the twelve intended. The story surrounded the murder of the titular Edwin Drood; because the story was never finished, the murderer was never revealed.[12] The book was still made into a film and a musical, with the latter having the unusual concept that the audience members vote for who they think is the murderer.[13]

Other famous unfinished works of literature include Hero and Leander by Christopher Marlowe (a completion was provided by George Chapman), Dream of the Red Chamber by Gao E (Chapter 80–120), Dead Souls by Nikolai Gogol, Bouvard et Pécuchet by Gustave Flaubert, Weir of Hermiston by Robert Louis Stevenson, The Living Corpse by Leo Tolstoy, The Good Soldier Švejk by Jaroslav Hašek, Suite française by Irène Némirovsky, Answered Prayers by Truman Capote, The Last Tycoon by F. Scott Fitzgerald, Messias by Väinö Linna, Uncertain Times by Richard Yates, Sanditon by Jane Austen, Mount Analogue by René Daumal, The Pale King by David Foster Wallace, The Final Unfinished Voyage of Jack Aubrey by Patrick O'Brian, Georg Büchner's Woyzeck, The Castle and Amerika by Franz Kafka, The Life of Klim Samgin by Maxim Gorky, The Man Without Qualities by Robert Musil and Le Premier Homme by Albert Camus.

Science, theology and philosophy

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St. Thomas Aquinas stopped work on his Summa Theologiae in 1273 after a mystical experience.

Religious works have also been left incomplete, leading to debates about the possible missing content. Some theologians consider the Gospel of Mark, in its existing form, incomplete; the text after 16:8 is probably not original, thus creating speculation whether the author was arrested or died suddenly, or whether the end of the gospel could have broken away from the rest of the gospel as it was handed to the next person.[14] The Sunni Islamic classic Qur'anic commentary, Mafatihu-l-Ghayb, better known as Tafseer Al-Kabeer (Tafsir al-Kabir (al-Razi)) by Fakhr al-Din al-Razi was left unfinished and it was finished by either Qadi Shahab-ud-deen bin Khaleel al-Khauli, of Damascus (died 639 AH) or Shaikh Najm-ud-deen Ahmad bin Al-Qamooli (died 777 AH) as mentioned in Kashf-az-Zunoon. The Masnavi, the most famous poem in Sunni Islamic Sufi poetry by Rumi was left unfinished and it was later finished by Mufti Ilahi Baksh Kandhlawi about five hundred years after the demise of Rumi. The Persian Bayán, a scripture from Bábism, was left unfinished when the Báb died. There have been some claims that the text has been completed by other people, though the Báb stated that it would be finished by [him] whom God shall make manifest.[15][16] St. Thomas Aquinas abandoned his great work the Summa Theologica in 1273, citing a mystical experience during Mass. Its arguments for the existence of God continue to exert influence in philosophy and Christian theology more than 700 years later.[17] In Greek philosophy, Plato's Critias was unfinished when Plato died at age 80.

The most influential document in computer science was John von Neumann's First Draft of a Report on the EDVAC, a 101-page manuscript dating from 1946 and littered with ellipses and spaces for the eventual addition of further material. Von Neumann never completed it, as by that time its distribution had already influenced an explosion in postwar computer development. Its elaboration of the stored program concept and formalization of the logical design of computer architecture—ideas which were not all original to von Neumann but which he first expressed in the mathematical language he favoured—endure in the architectures of modern computer systems.[18]

Still in computer science, the seminal work on algorithms, The Art of Computer Programming by Donald Knuth, has had only the first three of its seven planned volumes written.

The first genuine historiographical work, the History of the Peloponnesian War by Thucydides, was undergoing a major revision by the author at the time of his death, so different sections of it reflect a starkly contrasting general outlook on Persian influence in the events depicted.

Drawings, paintings and sculptures

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Adoration of the Magi, an unfinished painting by Leonardo da Vinci.
Treaty of Paris, Benjamin West's 1783–84 painting of the American delegates to the 1783 Treaty of Paris which ended the American Revolutionary War, left out the members of the British delegation, who refused to pose out of shame for their country's defeat. The portrait was never finished.
Dickens' Dream, by Robert William Buss, begun on the death of Charles Dickens in 1870, and incomplete at the time of the painter's death in 1875.

Artists leave behind incomplete work for a variety of reasons. A piece may not be completed if the subject becomes unavailable, such as in the changing of a landscape or the death of a person being painted. Elizabeth Shoumatoff's unfinished portrait of 32nd U.S. president Franklin D. Roosevelt was started around noon on 12 April 1945 but left unfinished when Roosevelt died later that day. In other instances, outside circumstances can prevent the execution of an otherwise "finished" artwork: Leonardo da Vinci developed sketches and models for the 24-foot-tall (7.3 m) "Gran Cavallo" horse statue but the bronze to cast the sculpture was diverted to make cannons.[19] Five hundred years later, two full-size sculptures were completed based on Leonardo's work.[20] Technically his The Last Supper is unfinished. In most pictures it shows a roof, but at Milan, where the painting lies, it shows some Latin that is half done. Robert William Buss left unfinished his most famous painting, Dickens' Dream, just as Charles Dickens himself had left a novel half-complete at his death.

Depending on the medium involved, it can be difficult for another artist to complete an unfinished artwork without damaging it. Some artists completed the paintings of their mentors, such as Giulio Romano is believed to have done on Raphael's Transfiguration,[21] and Titian on Giorgione's Sleeping Venus.[22]

Instead of completing another artist's masterpiece, particularly when many years have passed, unfinished works frequently inspire others to create their own version. Michelangelo left several unfinished sculptures and paintings, with sketches and partially completed paintings inspiring others.[23] If the work is to be done on commission but is not finished it is commonly passed on to another artist. Leonardo da Vinci's work on the Adoration of the Magi for the monastery of San Donato was halted when he left Florence for Milan. Still requiring an altarpiece, the monks employed Filippino Lippi to create one.[24] Both paintings now hang in the Uffizi gallery.[25]

Paintings are usually sketched on the canvas before work begins, and sculptures are frequently planned using a maquette. These works-in-progress can be as sought after as (or even more sought after than) completed works by highly regarded artists because they help reveal the process of creating a work of art. Gian Lorenzo Bernini, a sculptor from the Baroque period, made his bozzetti (an Italian term for the prototype sculpture) from wax or baked terracotta to show those that had commissioned him how the final piece was intended to look. Eleven of these bozzetti were displayed in an exhibition at the Art Institute of Chicago in 2004.[26] Some museums specialise in collections of maquettes, such as the Museo dei Bozzetti in Pietrasanta, Italy.

During the Renaissance, Donatello made sculptures that appeared unfinished by only sculpting part of the block, leaving the figure appearing to be stuck within the material. He called this technique "non finito", and it has been used by several artists since then.[27]

In the age of mass media, incomplete work can reach an audience due to sheer demand for material by the artist. Tintin and Alph-Art, the 24th comic in Hergé's popular The Adventures of Tintin series, was unfinished at his death. Though he had illustrated a significant part of the book, several sketched panels remained in the final scenes, with no clear outline for the last third of the story. The book was still published and the story can be followed despite the incomplete artwork.

Architecture, construction and engineering

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Many construction or engineering projects have remained unfinished at various stages of development. The work may be finished as a blueprint or whiteprint and never be realised, or be abandoned during construction.

There are numerous unfinished buildings that remain partially constructed in countries around the world, some of which can be used in their incomplete state, while others remain as mere shells. An example of the latter is the Ryugyong Hotel in North Korea. If finished, it would become the tallest hotel in the world and the seventh largest building[28] but is uninhabitable and will not be completed due to the cost and the poor structural integrity.[29] Some projects are intentionally left with an unfinished appearance, particularly the follies of the late 16th to 18th century.

There are many reasons for construction works being halted. Amongst others, they include a changing financial climate, unforeseen structural weaknesses, and a dramatic shift in the politics of a country. Work on the Palace of Soviets, a project to construct the world's largest building in Moscow, was halted when the city was attacked during World War II.[30]

Some buildings are in a cycle of near-perpetual construction, with work lasting for decades or even centuries. Antoni Gaudí's Sagrada Família in Barcelona has been under construction since 1882. Work was delayed by the Spanish Civil War, during which part of the original models were destroyed. After the restoration of these models, the works are still in progress and the prevision is that the building will be finished in 2026. Today, even with portions of the basilica incomplete, it is still the most popular tourist destination in Barcelona with 1.5 million visitors every year. Gaudí spent 40 years of his life overseeing the project and is buried in the crypt.[31] Also in Barcelona, construction on the Barcelona Cathedral started in 1298, but its dome and central tower were only finished in 1913, 615 years later. Germany's Cologne Cathedral took even longer to complete, from 1248 to 1880, a total of 632 years.[32]

Construction of Cologne Cathedral took over 600 years.

It is not only buildings that have failed during the construction phase. In the 1920s, the White Star Line hired the shipbuilders Harland and Wolff to build the first 1,000-foot-long (300 m) ocean liner, with the planned name of Oceanic. However, a dispute between the companies halted the construction, then the Great Depression put an end to it; eventually the portion of the keel already constructed was broken up and used in building two smaller but similar ships, the MV Britannic and MV Georgic.[33] In the 1970s the Hoan Bridge in Milwaukee, Wisconsin was out of use for five years after its construction when the connecting roads were not completed. In the 1980s, during the Iran–Iraq War, Iraqi president Saddam Hussein commissioned the Babylon project. The supergun design by Gerald Bull was never fully constructed after Bull's assassination in March 1990.[34][35]

Many projects do not get to the construction phase and are halted during or after planning. Ludwig II of Bavaria commissioned several designs for Castle Falkenstein, with the fourth plan being vastly different from the first. The first two designs were turned down, one because of costs and one because the design displeased Ludwig, and the third designer withdrew from the project. The fourth and final plan was completed and some infrastructure was prepared for the site, but Ludwig died before construction work began.[36] The Palace of Whitehall, at the time the largest palace in Europe, was mostly destroyed by a fire in 1698. Sir Christopher Wren, most famous for his role in rebuilding several churches after the Great Fire of London in 1666, sketched a proposed replacement for a part of the palace, but financial constraints prevented construction.

Sir Christopher Wren's 1698 sketch for a rebuilt Palace of Whitehall.

Computer technology has allowed for 3D representations of projects to be shown before they are built. In some cases the construction is never started and the computer model is the nearest that anyone can ever get to seeing the finished piece. For example, in 1999 Kent Larson's exhibition "Unbuilt Ruins: Digital Interpretations of Eight Projects by Louis I. Kahn" showed computer images of designs completed by noted architect Louis Kahn but never built.[37] Computer simulations can also be used to create prototypes of engineering projects and test them before they are actually made; this has allowed the design process to be more successful and efficient.

Even without being constructed, many architectural designs and ideas have had a lasting influence. The Russian constructivism movement started in 1913[38] and was taught in the Bauhaus and other architecture schools, leading to numerous architects integrating it into their style.[39][40]

Music

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Classical music

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Before the advent of recording technology, all musical compositions were sketched on manuscripts. Often these manuscripts are roughly sketched, with drafting work scribbled over the top of the music, and have been found in unordered piles. Many unfinished symphonies have been pieced together from these original manuscripts by other composers, after the original author's death, with some remaining incomplete until many decades later. One of the most famous examples of unfinished musical compositions is Franz Schubert's Symphony No. 8 in B minor, or as it is more commonly known, The Unfinished Symphony.[41] Another famous unfinished classical piece is Mozart's Requiem, famous in part because of the numerous myths and legends that surround its creation and in part because of Mozart's prestige. At the time of his death, Mozart had fully orchestrated only the first movement, leaving nine further movements in varying states of completion. Franz Xaver Süssmayr, an acquaintance of Mozart, finished the nine incomplete movements and wrote four more. In addition to the Süssmayr version, a number of alternative completions have been developed by composers and musicologists in the 20th and 21st centuries. Gustav Mahler's Symphony No. 10 was incomplete, with only drafts, sketches, and two mostly orchestrated movements existing at the composer's death. Several people have "completed" it with varying degrees of success, the most notable of these being Deryck Cooke's "performing version of the draft."[42]

J. S. Bach's The Art of Fugue breaks off abruptly during Contrapunctus XIV.

Some compositions are finished "in the style of" the original composer, with someone who is highly familiar with the work adopting the same writing style and continuing the musical tone. Johann Sebastian Bach's The Art of Fugue, which was broken off abruptly during Contrapunctus XIV, probably shortly before the death of the composer, was first published in the mid-18th century. Many reconstructions have been written, but in 1991 Zoltán Göncz used the form of a permutation fugue to make a strong argument as to the structure of the Fugue to come.[43] (See external links.) Sir Edward Elgar was composing a Symphony No. 3 at the time of his death and left 130 pages of sketches. These sketches were put into a reasonable order, orchestrated in the style of Elgar, and elaborated by Anthony Payne. Payne's reconstruction has been played numerous times to great acclaim.[44]

Some works, deemed complete by the composer, are nonetheless augmented for non-musical reasons. In May 2000 composer Colin Matthews premiered his "completion" of Gustav Holst's The Planets, whereby he composed a new movement for the ninth planet Pluto, giving it the name "Pluto, The Renewer". When Holst had written the original piece Pluto had not been discovered, and this addition therefore updated the suite to represent all known planets of the Solar System (Earth was never included), 82 years after it was originally performed.[45] In August 2006 Pluto was officially demoted to a dwarf planet, meaning that Holst's original work now more accurately represents the Solar System.[46]

Some very famous 20th century operas have been left incomplete at their composers' deaths. Giacomo Puccini left the finale of Turandot unfinished and the missing music had to be provided by Franco Alfano for the premiere in 1926. Recently, Luciano Berio composed an alternative ending. Alban Berg had not yet finished orchestrating the third and final act of his opera Lulu at the time of his death in 1935. Due to objections from his widow, it was not until 1979 that a full version was performed, with the orchestration for Act 3 being completed by Friedrich Cerha using Berg's sketches.[47]

Other musical works which are unfinished but performable, are simply given in their incomplete state. Schubert's symphony is the most famous, but Anton Bruckner's Ninth Symphony is performed without a finale, and in Karl Amadeus Hartmann's Gesangsszene, the final words of Jean Giraudoux's text, left unset at the composer's death, are simply spoken by the soloist.

Some other well-known examples of unfinished works completed by other hands include:

Peter Schickele parodied the concept in his "Unbegun Symphony", which contains only movements III and IV because, as Schickele put it, "I was born too late to write the first two movements."

Modern recordings

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Since recording equipment has been an integral part of writing music it has been possible to use the original master tapes and demos to construct a song from the parts that had already been completed. Many demos are released officially if the artist has been unable (or unwilling) to complete it, or made available as a bootleg recording. The continued popularity of the Beatles led to "Free as a Bird" and "Real Love" being released in the mid-1990s after the band members pieced together incomplete recordings by the deceased John Lennon.[48] Both songs reached the top five in the British singles chart.

In 1969, after releasing their self-titled album the year before, the Beatles began working on an album entitled Get Back, which was never completed. Most of the songs from Get Back were eventually used on the Let It Be album.

Brian Wilson performing Smile as a solo artist in 2005

The Beach Boys' Smile is considered the most legendary unreleased album in the history of popular music.[49][50] Recorded in 1966 and 1967, Smile was to be the followup to the album Pet Sounds (1966), but due to a plethora of reasons including project leader Brian Wilson's deteriorating mental health and increased friction among the band members as well as between the band members and the record company executives, the band abandoned the project after completing numerous recordings slated for the project (which were included in later, less ambitious albums). In 2004, Wilson and writing partner Van Dyke Parks went into the studio, and newly recorded the material and released it as a completed solo album. That album was used as a template to construct a version of the Beach Boys album from the original Smile Sessions in 2011.

Janis Joplin died of a drug overdose during the recording sessions for Pearl. The album was released three months after her death with ten songs, including two apparently incomplete recordings. "Buried Alive in the Blues" was released as an instrumental, and "Mercedes Benz" was released as an a capella vocal.

Other famous unfinished rock albums include the Who's rock opera Lifehouse, Bob Dylan's The Basement Tapes, Jimi Hendrix's First Rays of the New Rising Sun and Jeff Buckley's My Sweetheart the Drunk.[51] All have been released, in whole or part, in various posthumous forms in the ensuing years,[51] Lifehouse being another case of using demos to present a completed work.

Several artists have found that some of their studio work have been leaked onto the Internet before their album has been completed. System of a Down's 2002 follow-up to Toxicity, untitled at the time, was leaked onto the Internet as MP3 files. When the album was released under the title Steal This Album! the songs were significantly different from the work-in-progress, with different titles, lyrics and even melodies. There were some reports that the changes were a direct result of negative feedback about the leaked material.[52]

Some artists will try to ensure that their work is completed (as much as possible) before their health prevents them from continuing. Johnny Cash, aware of his failing health, made sure that he recorded the vocals for 60 more songs, with the music being completed after his death. These songs were compiled by producer Rick Rubin and released posthumously as American V: A Hundred Highways and American VI: Ain't No Grave.[53] However, not all artists get the chance to complete their work before their death, and the recordings that are made public may be somewhat different from what had originally been intended. From a Basement on the Hill by Elliott Smith was released posthumously in 2004 with comments from the initial album producer saying that "[t]he record he would have delivered would [have] had more songs, would have had different mixes and [been] a little more in your face".[54]

Richard Carpenter released several tracks decades after his sister Karen died in 1983, leaving a multitude of unfinished work. One track, released on the "Interpretations" compilation album in 1995, included Karen's lead vocal for the song "Tryin' to Get the Feeling Again" which had previously been recorded and released by Barry Manilow. The lead had been lost for years on a mislabelled tape. Strings, piano, and backup singers were added to the sound of Karen's lead vocal, while Richard left the sound of her turning the lead sheet over in the finished product. Another track was Karen's cover "The Rainbow Connection", which had been written by Kenny Ascher and Paul Williams for Jim Henson to sing as Kermit the Frog in The Muppet Movie (1979). Recording it only a year later, Richard claims that Karen just did not like the song and that was why it was omitted from their 1981 album, Made in America. A toy piano, choir, and strings were added against Karen's vocals. The song was released in 2001 on the album As Time Goes By, considered the final studio album of the duo.[citation needed]

Film

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Orson Welles left behind numerous unfinished films.

Films may not be completed for several reasons, with some being shelved during different stages of the production. Arrive Alive was scrapped after a week of filming when the comedy was not living up to the screenplay. Shelving a film without it ever being released can be very expensive for the studios, with Arrive Alive costing $7 million.

With so many people involved in filmmaking it is possible for a film to remain incomplete because of an injury or death. While a member of the crew (even a producer or director) can often be replaced, it is much more difficult to change to a different actor if many of the scenes have already been filmed, or if a character is strongly associated with an actor's physique, voice, or demeanor, or special skills. For example, Dark Blood was cancelled 80% of the way through filming due to the death of its star River Phoenix. However, the film premiered to a private guest audience on 27 September 2012 at the Netherlands Film Festival in Utrecht, Netherlands. Some films have been completed despite such problems. A famous example is Bruce Lee's Game of Death. Lee died during the filming, and the rest of the filming was finished with Tai Chung Kim, a Lee look-alike, acting as a double, and Yuen Biao acting as a stunt double for action scenes. His son, Brandon Lee, suffered the same fate: he died after filming most of The Crow, but the remaining scenes were played by stunt double Chad Stahelski, with Lee's face digitally composited onto the double.[55]

Continued delays can prevent a film from ever being completed. Something's Got to Give was a 1962 film with a difficult production history, which included the firing of leading lady Marilyn Monroe. She was later rehired but died before filming started; without the delay the film might have been completed.[56]

In Orson Welles's lifetime his unfinished films became legendary. For decades he worked on a version of Don Quixote, and he claimed that the film could be finished despite the deaths of his two leading actors.[57] Citizen Kane remains one of the only films that was released as Welles intended, with most of his other films remaining incomplete or being changed by the studios. His death on 10 October 1985 came while he was working on The Other Side of the Wind and The Dreamers; the former was completed in 2018 by Peter Bogdanovich.[58]

Animated films, though less vulnerable to problems such as the death of an actor, can still fail to be completed. The Thief and the Cobbler was a twenty-six-year animated film project by Richard Williams which was taken away from him and completed by Fred Calvert.[59] The workprint of the original film became available as a bootleg, and there have been several attempts to restore the film, most notably Garrett Gilchrist's "Recobbled" cut. The 1978 animated adaptation of The Lord of the Rings was not viewed by the studio as enough of a commercial success to warrant the funding of a sequel, thus not completing the story from the original book.[60]

Multi-part films like the animated The Lord of the Rings and entire film series can also end up being unfinished, in spite of ambitious plans. 20th Century Fox's attempt to adapt Rick Riordan's Percy Jackson & the Olympians series stopped after the second book, Percy Jackson: Sea of Monsters, when plans to adapt the third book, The Titan's Curse, fell through.[61][62] Lionsgate Films' plan to adapt Veronica Roth's Divergent book trilogy also faced a similar fate when it tried to split its adaptation of the final novel, Allegiant, into two parts, similar to how it was done for the final book of the Harry Potter book series, Harry Potter and the Deathly Hallows and the final book of The Hunger Games trilogy, Mockingjay, but the critical and commercial failure of the first part, The Divergent Series: Allegiant, ultimately discouraged efforts to produce and release the second part or close out the story whatsoever.[63]

There is debate whether Stanley Kubrick's last film Eyes Wide Shut was complete at the time of the director's death [citation needed], three months before the movie was due to be released, as Kubrick had a history of continuing to edit his films up until the last minute, and in some cases even after initial public screenings.

Cristian Nemescu died during the editing of California Dreamin'. The producers decided to release it in its unfinished state with a runtime of 155 minutes. The film is sometimes titled California Dreamin' (endless) (Romanian: California Dreamin' (nesfârșit)) as it is unfinished.[64]

Television

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Consisting of many episodes that are grouped together in seasons or series, a long-form television show that intends to tell a continuous, long story can be cancelled for many reasons before it broadcasts all of its planned episodes and resolves all story arcs and its central premise.

A television show can be cancelled as the series is getting started, or even before a single episode has been broadcast. In most cases, to get a series broadcast, its creators must typically produce a pilot episode to convince a television network to pick up and support it. There is no guarantee that the pilot will air; the network holds the final say on whether the series will go forward. Networks sometimes cancel a series after it airs roughly half of its first season, and air a mid-season replacement instead of the second half of the season. If a series fails to broadcast, it can be considered unfinished in the sense that substantial effort was put into developing it and much more work could have been done on it had it been able to proceed.

At the end of a season, a television series is cancelled if its network does not order any future seasons to follow. A series is often considered unfinished if it does not resolve all of its planned story arcs and central premise by that time. In such a situation, the series' creators may make a bid to keep the series going by intentionally ending the current season finale on a cliffhanger to give fans the impression that the series hasn't been resolved properly. This tactic does not always succeed,[65] and can potentially produce an exacerbating bout of disappointment among fans if the series is nevertheless cancelled and left truly unfinished – a fate that befell Iron Fist.[66] Alternatively, the creators of a series put in a similar predicament may choose to design the season finale to function like a series finale so as to bring a sense of closure to the audience in case the series is indeed cancelled and prevented from fully accomplishing its goals.

Some unfinished television series may be revived for various reasons and ultimately given a proper ending. Samurai Jack was cancelled in 2004 after four seasons without a conclusive resolution to its central plot,[67] which Adult Swim eventually provided when it revived the series for a fifth and final season in 2017.[68] The 2008 3D Star Wars: The Clone Wars was cancelled in 2013 partway through its planned run in favor of other Star Wars projects headed by Disney after it acquired Lucasfilm a year prior;[69] the series would remain unfinished for years until Disney and Lucasfilm decided to revive and finally finish it with one final season, released exclusively on Disney+ in the first half of 2020,[70] with the true series finale, "Victory and Death", airing on Star Wars Day.[71] Scooby-Doo! and the Curse of the 13th Ghost was commissioned to resolve a plot hole in the relatively obscure mid-1980s Saturday morning cartoon The 13 Ghosts of Scooby-Doo.[72] In other instances, the revived series may appear to be merely a means to attract nostalgic viewers, with no plan to give a proper conclusion to the overarching plot threads left unresolved at the end of the original run; such criticism was leveled at The X-Files for its 10th and 11th seasons, in 2016 and 2018, which also both ended on a frustrating cliffhanger, resulting in a strong backlash toward each finale, even though some earlier episodes were praised.[73][74]

Finally, other outside circumstances can prevent the completion of a piece of television. The 1980 Doctor Who serial Shada was abandoned after strike action prevented the cast and crew from gaining access to the studio. Rearranging filming of the serial was deemed as less important than recording Christmastime programming, so the serial was left incomplete. A 1992 release linked filmed scenes with narration to describe missing scenes, for a VHS release. In 2017, the original cast was reunited to record audio for an animated reconstruction of missing scenes according to the original script.

Software

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Computer software, particularly games, are sometimes canceled quite far into their development. Occasionally they are demonstrated to the press so that previews can be written but are never completed or published. Amen: The Awakening had an extensive preview written in the magazine PC Paradox in 1999, including numerous screenshots, which generated a lot of interest in the project. However, it was canceled the following year.[75] Due to continued interest in a game, some are eventually made available in their unfinished state. Combat 2, the sequel to the 1977 Atari VCS-bundled game Combat, was never completed, but many years later, at the 2001 Classic Gaming Expo, 200 copies of the unfinished game were sold after a company created a box and manual.[76]

Video game series can also end up unfinished. For example, software developer Ultimate Play the Game had released four completed titles on the ZX Spectrum which starred their pith-helmeted hero, Sabreman. Completing each adventure would tease the title of the next title in the series, with the exception of Underwurlde which contained multiple exits, each alluding to a future title. The fifth intended adventure, Mire Mare was mentioned at the conclusion of Underwurlde, Knight Lore and Pentagram, but following the acquisition of Ultimate to publisher U.S. Gold, the title never saw release. Another example is Star Wars: The Force Unleashed, which only lasted two games despite the sequel, Star Wars: The Force Unleashed II, ending with hints of a third game that was eventually canceled due to Disney's acquisition of Lucasfilm and the consequent decanonization of the Star Wars Expanded Universe the games were part of.

One unique phenomenon of a video game franchise that had almost received another title, Mega Man Legends, infamously experienced an official announcement by publisher Capcom of a resolution to the second game's cliffhanger ending in the ill-fated Mega Man Legends 3. After the cancellation of Legends 3 in 2011, the series narrative remains unresolved over two decades since the 2000 sequel's ending.[77]

Software undergoes a testing phase that helps to eliminate problems before it is released; however, beta testing is a form of testing where the software is open to the public (usually limited to a set number of people or organizations) but is still essentially unfinished. This is often an important part of the development of a software package. There have also been instances of video games and software that are unfinished because they are still in development while being available to a larger group of people to test them, whether by remaining in an early access state for a prolonged period of time or ending up stuck in perpetual beta.

If a piece of software is becoming overly delayed the developer may just release the program despite the presence of a few bugs. The Internet has allowed patches to be deployed that fix these bugs, but before such technology was available the problems could not be fixed after the game was published. Even with this, a game with too many bugs when it is made public will receive very poor reviews that will undoubtedly affect sales. For example, 2002's Destroyer Command received some very positive reviews about many aspects of the game but was criticized for the number of glitches it contained that, given a lengthier software testing phase, should have been fixed.[78] Some developers choose to disable certain features to release the game on time, especially if a project has seen an amount of feature creep. One such title was Cinemaware's 1986 Defender of the Crown, which was released before all the features were completed when the company was faced with a strict deadline and the loss of two programmers.[79]

In modern gaming, high-profile titles that eventually release with content missing or a large number of bugs are often referred to as "unfinished" games by both critics and the community,[80] especially if these bugs or missing content are subsequently resolved with a later patch. For example, Ubisoft Montreal's Assassin's Creed Unity contained a large number of bugs on release, leading some commentators, both contemporary[81] and retrospective,[82] to describe it as "unfinished."

In law

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Unfinished work is often covered by the copyright laws of the country of origin. The United States have taken the step of creating a law which specifically mentions ongoing work, whereby work which is in progress but will in the future be completed can be covered by copyright. On 27 April 2005 the "Artist's Rights and Theft Prevention Act", a subpart of the Family Entertainment and Copyright Act, was signed into U.S. law. This act allows for organisations or individuals to apply for copyright protection on unfinished commercial products, such as software, films, and other visual or audible media.[83] For example, a photographer can preregister a photograph by giving a written description of what the final piece (or collection thereof) will look like before the work is finished.[84]

In copyright law, an artistic creation that includes major, basic copyrighted aspects of an original, previously created first work is known as a 'derivative work'. This holds for all kinds of work, including those that have never officially been published. The rights of the first work's originator must be granted to the secondary work for it to be rightfully called a 'derivative work'. If no copyright permission is granted from the originator, it is instead called a 'copy'. Upon completion of the new piece both parties hold a joint copyright status, with both having to agree to any publications. When the copyright has lapsed for the original work the second artist fully owns the copyright for their work, but cannot stop distribution of the original piece or another artist from completing the work in their own way. However, such copyrights can only be granted if the work shows significant new creative content.[85][86]

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
An unfinished creative work refers to an artistic, literary, musical, architectural, or other creative endeavor that its originator intended to complete but left in an incomplete state, often due to death, interruption, or deliberate aesthetic choice. Such works span diverse media and eras, from like Leonardo da Vinci's , abandoned after preparatory stages in 1481, to musical compositions such as Mozart's , substantially drafted but finalized posthumously by others. Literature provides examples like Franz Kafka's novels and The Castle, published from manuscripts after his death despite instructions for destruction, and Thomas Aquinas's , halted mid-sentence upon a mystical experience. These incomplete creations frequently provoke debates over authenticity, , and posthumous intervention, as seen in legal frameworks like the addressing alterations to unfinished visual arts. While some artists embraced non finito—an intentional roughness evoking vitality and process, as in Michelangelo's sculptures—the majority arise from unforeseen cessation, yielding cultural artifacts that invite scholarly reconstruction or appreciation in their raw form. Unfinished works often achieve enduring fame, influencing completions like Antoni Gaudí's basilica, ongoing since 1882, or J.R.R. Tolkien's posthumous expansions by his son. Their incompleteness underscores the contingency of creation, revealing the interplay between intent, interruption, and interpretation in artistic legacy.

Conceptual Foundations

Definition and Criteria

An unfinished creative work is a creation in , , , , , or related domains that has not reached the state of completion intended by its originator, manifesting as partial drafts, sketches, compositions, or structures halted short of finalization. This condition arises when the work lacks essential elements—such as polished revisions, resolved narratives, or executed details—that align with the creator's vision or medium-specific norms, leaving it in an interim form. Classification hinges on material evidence like manuscripts, correspondence, or workshop remnants indicating unresolved progress, rather than mere . Key criteria for determining unfinished status include the presence of iterative traces (e.g., multiple drafts or annotations signaling further refinement) and contextual interruptions, such as the creator's , which preclude final assembly. Works presumed complete by default shift to unfinished upon discovery of incomplete variants or executor notes, as seen in posthumous evaluations where no authoritative endpoint exists. Distinctions apply between unintentional truncation—due to mortality or unforeseen halts—and deliberate partiality, though the latter (e.g., certain sculptural non-finito techniques) may still qualify if the creator's encompassed broader realization beyond the extant form. Scholarly assessment prioritizes archival verification over interpretive assumption, avoiding retroactive completion narratives that obscure original . Legal and ethical considerations further refine criteria, as in U.S. copyright law under the , which extends to unfinished visual works, recognizing their integrity as distinct from fully realized outputs despite developmental gaps. In music and , incompleteness is gauged by structural deficits, such as unresolved fugues or truncated plots, corroborated by performance histories or editorial records. Empirical classification demands cross-verification from primary sources, mitigating bias in secondary attributions that might inflate or diminish a work's unfinished nature for interpretive gain.

Historical Prevalence and Evolution

Records of unfinished creative works date back to antiquity, where Roman author , in his completed around 77 AD, described imperfect paintings left at artists' deaths—such as Aristides' Iris and Nicomachus' —as evoking greater admiration than finished pieces due to their revelation of the creative genesis. These inperfectae tabulae were valued for exposing the artist's hand and imaginative spark, suggesting that incompleteness has long been recognized not merely as failure but as a window into artistry. In , Virgil's (composed 29–19 BC), intended for destruction upon his death but published incomplete by order of Emperor , exemplifies early instances where external intervention preserved partial epics, influencing Roman literary tradition. During the , the deliberate aesthetic of non finito emerged prominently in , as seen in Michelangelo's unfinished sculptures like the Slaves (1513–1516), where rough forms evoked emerging figures from marble, symbolizing the soul's struggle toward form—a technique rooted in ancient precedents but elevated as intentional artistry to engage viewer imagination. Leonardo da Vinci's (1481), abandoned after preliminary sketches and underdrawing, demonstrates how commissions could halt progress, yet such works later informed artistic pedagogy by displaying layered techniques. In literature, Geoffrey Chaucer's (c. 1387–1400), with only 24 of planned 120 tales completed at his death, reflects medieval norms where manuscripts evolved iteratively, often left open-ended amid patronage uncertainties or mortality. This period marked a shift toward valuing process over polish, with unfinished states preserved in workshops or estates. By the and Romantic eras, musical compositions frequently remained incomplete due to composers' untimely deaths, as in Sebastian Bach's The Art of the Fugue (c. 1740–1750), which breaks off mid-fugue upon his passing, and Franz Schubert's No. 8 (1822), consisting of two movements despite sketches for more. Posthumous editions proliferated, driven by market demand and editorial interventions, evolving the perception from private workshop curiosities to public artifacts studied for counterfactual completions. The saw increased prevalence in with serialized novels abandoned amid financial woes or health declines, yet Romantic individualism romanticized the fragment as embodying interrupted, influencing 20th-century where incompleteness became a deliberate of completion's tyranny. Over time, technological advances in reproduction and analysis have amplified study of these works, transforming historical accidents into enduring exemplars of creative contingency.

Causes of Incompletion

The death or severe illness of the creator constitutes a primary cause of incompletion, abruptly terminating projects without opportunity for resolution. Johann Sebastian Bach's (BWV 1080), composed in his final years, trails off unfinished in its climactic final following his death from complications of eye surgery and on July 28, 1750. Similarly, succumbed to on June 3, 1924, at age 40, leaving major novels such as and The Castle in fragmentary states, with endings unresolved despite extensive drafts. Perfectionism frequently impedes completion, as creators repeatedly revise works in pursuit of unattainable ideals, leading to abandonment. exemplified this trait, leaving numerous commissions unfinished, including The Adoration of the Magi (1481–1482), which he began for the monks of San Donato but abandoned after preliminary drawings and underdrawing, dissatisfied with progress despite contractual obligations. His chronic inability to finalize projects stemmed from analytical scrutiny and innovative experimentation that outpaced execution timelines. Mental health challenges, including breakdowns and , disrupt sustained creative effort and contribute to shelving ambitious undertakings. , facing escalating psychological distress amid use and production pressures, halted work on the Beach Boys' album in 1967 after a reported psychotic episode, determining its esoteric elements unviable for release. Untreated conditions exacerbated cognitive overload, rendering completion infeasible despite substantial recorded material. Personal crises and waning motivation further manifest as creator-driven incompletion, where shifting priorities or disillusionment halt momentum. amassed over 600 unpublished manuscripts by his death on April 21, 1910, including incomplete novels like , often revised extensively but left unresolved amid late-life and financial strains intertwined with his temperament. Such factors underscore how intrinsic psychological and physiological limits, rather than external impositions, dictate many instances of creative truncation.

External and Market-Driven Factors

External and market-driven factors in the incompletion of creative works often stem from financial constraints, commercial assessments by funders or producers, and macroeconomic disruptions such as recessions or geopolitical conflicts. These pressures disproportionately impact collaborative or capital-intensive endeavors, where creators depend on external , institutional backing, or market viability for . Unlike internal creator motivations, these elements impose objective barriers tied to resource availability and projected returns, frequently halting projects mid-development regardless of . In architecture, economic downturns and funding shortfalls represent primary causes of abandonment, as large-scale constructions require sustained investment vulnerable to fiscal shifts. A 2014 report by the Council on Tall Buildings and Urban Habitat identified over 50 skyscrapers exceeding 150 meters in height that began construction but stalled due to financial failures or political upheavals, including examples from the 2008 global financial crisis where developer bankruptcies precluded completion. Historical precedents abound, such as the , initiated in 1248 but interrupted repeatedly by wars, plagues, and budgetary deficits, achieving full realization only in 1880 after centuries of intermittence. Similarly, post-World War II projects in regions like were derailed by economic collapse and conflict, leaving monumental structures as relics of disrupted regimes. Film production exemplifies market-driven halts through studio interventions prioritizing profitability over completion. Budget overruns or unfavorable market forecasts prompt withdrawals of support, stranding projects after significant or filming investments. Documented cases include numerous Hollywood ventures abandoned due to disputes or escalations, with legal entanglements further delaying or preventing finalization, as seen in extended production timelines exacerbated by financing volatility. Geopolitical events amplify these risks; for instance, wartime resource curtailed film initiatives in the early , while modern examples involve sanctions or stalling international co-productions. In literature, such factors manifest less acutely but include serialization cessations amid declining subscriber interest or publisher pivots to trending genres, though direct attributions to abandonment remain scarcer amid alternatives.

Examples by Creative Medium

Literature

Unfinished literary works encompass novels, poems, and other texts left incomplete due to authors' deaths, creative blocks, or deliberate abandonment. In , such fragments frequently gain posthumous significance, with editors or reconstructing or publishing them, sometimes against the creator's explicit instructions. Notable examples span centuries, from ancient epics to modern novels, highlighting how incompletion can preserve raw while sparking interpretive debates. Franz Kafka's novels The Trial (1925), The Castle (1926), and Amerika (1927) exemplify modern unfinished prose, drafted between 1914 and 1922 but left without conclusive endings at his death from tuberculosis on June 3, 1924, at age 40. Kafka instructed his friend to destroy all unpublished manuscripts, deeming them imperfect; Brod instead edited and published them, arguing they held universal value despite structural ambiguities and abrupt terminations. These works, characterized by bureaucratic absurdity and existential isolation, were released in rapid succession post-1924, profoundly shaping 20th-century literature. Charles Dickens' , serialized from April to June 1870, remained incomplete following his death by stroke on June 9, 1870, at age 58, after only six of the planned twelve installments. The narrative, centered on the disappearance of architect Edwin Drood amid opium dens and cathedral intrigue in Cloisterham, builds suspense around suspect John Jasper but halts mid-plot, leaving the resolution—whether murder occurred—unresolved. Dickens' executors published the available chapters, fueling scholarly completions and adaptations, though none authoritatively resolve the ambiguity. Jane Austen's , begun in January 1817 and abandoned after twelve chapters due to her declining health from , was left unfinished at her death on July 18, 1817, aged 41. Set in a developing , it satirizes speculative commerce, hypochondria, and social pretensions through characters like the entrepreneurial Parker siblings and the reserved Charlotte Heywood. Austen outlined further developments in family notes, but the circulated privately until published in 1925, later inspiring completions that extend its critique of Regency-era follies. Mark Twain labored intermittently on The Mysterious Stranger from 1897 until his death on April 21, 1910, at age 74, producing multiple drafts of this philosophical featuring a devilish youth named who exposes human folly in 15th-century . Various versions circulated posthumously, with a 1916 edition by editors Albert Bigelow Paine and Frederick A. Duneka synthesizing fragments into a cohesive if inconsistent narrative, emphasizing Twain's late on and . The work's incompletion reflects Twain's revisions amid personal grief and financial woes, yet it underscores his shift toward unsparing critiques of and . Earlier precedents include Geoffrey Chaucer's (c. 1387–1400), a frame narrative of pilgrims' stories interrupted by the author's death in 1400, comprising 24 tales of planned 120, blending estates satire with diverse genres. Similarly, Virgil's (c. 29–19 BCE), commissioned by , was nearing completion when Virgil died in 19 BCE en route from ; he urged its destruction for imperfections, but the emperor ordered publication, establishing it as Rome's foundational epic despite the unresolved final books. These cases illustrate how editorial interventions have canonized fragments, often prioritizing cultural utility over authorial finality.

Visual Arts

Unfinished works in , spanning paintings and sculptures, often result from artists abandoning projects due to relocation, revised commissions, or death, revealing preparatory techniques and compositional evolution. These pieces contrast with completed masterpieces by exposing underdrawings, rough modeling, or raw stone, which later inspired the non finito aesthetic emphasizing process over polish. A prominent example is Leonardo da Vinci's (1481), a large tempera panel (246 cm × 246 cm) commissioned on March 25, 1481, by the Augustinian monks of San Donato a Scopeto near for their high altar. Da Vinci executed initial brown oil sketches of chaotic figures adoring the Virgin and Child amid equestrian violence and architectural ruins, innovating a dynamic pyramidal composition, but left it incomplete after departing for in 1482, prompting the monks to reassign the commission to . The unfinished state preserves da Vinci's layered method, with preliminary contours and highlights underscoring his experimentation. In sculpture, Michelangelo Buonarroti's Prisoners (also called Slaves), a series of four marble figures (each about 2.3–2.7 m tall) carved circa 1513–1516 for the lower niches of Pope Julius II's tomb, exemplify incompletion due to contractual changes. Originally planned as part of a grand 40-statue contracted in 1505 and revised multiple times, the project scaled down by 1516, leaving the allegorical captives—depicting states like and (now in the )—partially freed from the block, torsos and heads more advanced than limbs still embedded in marble. 's technique reflected his non finito philosophy: the figure pre-exists within the stone, emerging through subtraction, symbolizing the soul's struggle against matter. Other cases include Albrecht Dürer's (1509–1511), an oil sketch halted midway, blending finished face with rough drapery to showcase underpainting shifts from to oil. 19th-century artists like intentionally embraced roughness in works such as (1880–1917), where over 180 figures evoke infernal turmoil without full polish, influencing modern sculpture's valorization of fragments. Such incompletions, whether forced or deliberate, highlight causal factors like instability—evident in 70% of altarpieces facing delays or abandonment per archival records—and underscore ' vulnerability to external interruptions compared to more portable media like .

Music

Unfinished musical works span centuries, often resulting from composers' deaths, creative blocks, or shifts in focus, leaving fragments that reveal structural intentions and thematic depth. These pieces frequently consist of completed movements alongside sketches or outlines, performed posthumously or in reconstructed forms, though authenticity debates persist due to interpretive additions. Historical prevalence includes symphonies, , and operas where incompletion halted grand cycles or narratives. Franz Schubert's Symphony No. 8 in , D. 759, dubbed the "Unfinished," began in October 1822 with two fully orchestrated movements—an Allegro moderato and Andante con moto—plus sketches for a , but no finale. Schubert, aged 25, ceased work amid illness, including contracted around 1822, and possible dissatisfaction with the score's innovation against Viennese norms. Premiered partially in 1865, over three decades after his 1828 death, it endures as a staple despite theories of deliberate or lost movements. Johann Sebastian Bach's Die Kunst der Fuge, BWV 1080, a late contrapuntal exploration, culminates in the unfinished Contrapunctus XIV, a quadruple fugue breaking off after 239 measures in the autograph manuscript. Composed circa 1740–1750, it halted due to Bach's death on July 28, 1750, from complications of eye surgery and stroke, with no evidence of further completion. The fragment introduces three subjects before a fourth—possibly B-A-C-H in notation—trailing into silence, inspiring scholarly completions yet preserving its raw state in performances. Gustav Mahler's Symphony No. 10 in advanced to a fully scored Adagio first movement by 1910, with short scores and sketches for five more, interrupted by his death on May 18, 1911, from heart disease. Realizations, notably Deryck Cooke's 1960 performing version refined posthumously, draw from Mahler's widow Alma's withheld materials, enabling full orchestrations debated for fidelity to his late-Romantic intensity. Similarly, Edward Elgar's Symphony No. 3 sketches, amassed until his February 23, 1934, death from cancer, spanned 130 pages of thematic and structural notes, later synthesized by Anthony Payne into a 1997 edition premiered June 15 that year. Other notable cases include Anton Bruckner's Symphony No. 9, D minor, completed in three movements by 1896 before his July 11 death, with finale sketches discarded amid revisions; Giacomo Puccini's , libretto advanced to "Nessun dorma" by 1924, finished by Franco Alfano after Puccini's November 29 death from throat cancer; and Béla Bartók's , sketched in 1945 shortly before his September 26 death from , realized by Tibor Serly. These works highlight music's vulnerability to mortality, yielding artifacts valued for their evocative incompleteness over fabricated wholeness.

Film and Television

Unfinished films arise frequently in cinema due to substantial production costs, often exceeding budgets during filming or , prompting studios to halt projects. Creative disputes between directors and producers, alongside technical challenges, contribute to incompletion, as seen in cases where footage remains unused for decades. In , series often conclude prematurely from network cancellations driven by insufficient viewership metrics, leaving scripted arcs unresolved despite initial multi-season plans. Orson Welles exemplifies persistent unfinished film efforts, initiating "The Other Side of the Wind" in 1970 with principal photography spanning five years amid funding shortages, resulting in over 90 hours of footage left unedited at his death in 1985; it received posthumous completion and release in 2018 via Netflix financing. Similarly, Welles' adaptation of "Don Quixote," shot intermittently from 1955 through the 1970s, captured scenes with non-professional actors like Francisco Reiguera as Quixote, but lacked a cohesive edit until a 1992 version assembled by Jesús Franco using Welles' notes, diverging from the director's intended nonlinear structure. These projects stemmed from Welles' post-"Citizen Kane" (1941) financing difficulties, where his innovative demands clashed with studio risk aversion, forcing reliance on sporadic private investments. Other prominent unfinished films include Sergei Eisenstein's "¡Que viva México!" (1932), abandoned mid-production due to Soviet government intervention over ideological content and budget overruns, with assembled footage later released in incomplete forms like the 1979 restoration. Jerry Lewis' "The Day the Clown Cried" (1972), filmed in , faced distribution issues from Lewis' dissatisfaction and Holocaust depiction sensitivities, remaining unreleased with prints destroyed or locked away, though bootlegs circulate. Bruce Lee's "Game of Death" (1973) halted after his death, with surviving footage repurposed into a 1978 hybrid film incorporating doubles and new scenes, diluting the original vision. In television, "Firefly" (2002) aired 14 episodes before cancellation due to shifting scheduling and low initial ratings, truncating Joss Whedon's serialized narrative planned for longer arcs, though a follow-up "Serenity" (2005) provided partial closure. "" (2016–2019) ended its second season on a after axed it citing costs versus viewership, despite creator Brit Marling's outlined five-season structure exploring multidimensional mysteries. "" (2013–2015) concluded after three seasons on from declining audiences, leaving showrunner Bryan Fuller's adaptations of novels incomplete, with potential arcs for further books unrealized. Such terminations reflect network prioritization of immediate profitability over long-term storytelling, often ignoring DVD sales or fan campaigns that later validated these series' cultural impact.

Architecture and Engineering

Unfinished works in and frequently arise from the immense scale and duration of projects, which expose them to interruptions from funding shortfalls, political upheavals, technological limitations, or the death of key designers. Unlike smaller creative endeavors, these undertakings often involve public or institutional , making completion dependent on sustained economic and social commitment. Medieval Gothic cathedrals exemplify this, with spanning generations and halting due to plagues, wars, or religious shifts. The in , initiated in 1248 to house the relics of , progressed with the choir finished by 1322 but stalled on the nave around 1473 amid financial exhaustion and the Protestant Reformation's impact on Catholic funding. Work resumed in the under Prussian initiative and Gothic Revival enthusiasm, culminating in completion on August 15, 1880, after 632 years. This extended timeline highlights how visionary engineering—employing innovative Gothic techniques like flying buttresses and ribbed vaults—clashed with practical constraints, leaving the structure dormant for over three centuries. Antoni Gaudí's Sagrada Família basilica in Barcelona, begun in 1882 and led by Gaudí from 1883 until his death in 1926, remains a paramount modern example, with only about 15-25% complete at that point due to his focus on intricate organic forms inspired by nature. The Spanish Civil War in the 1930s destroyed models and plans, delaying resumption until the 1950s, after which progress accelerated with computer-aided design. As of 2025, 17 of 18 spires stand, but full completion, including the central Jesus Christ tower reaching 172.5 meters, is projected for 2026, contingent on funding from tourism rather than initial ecclesiastical support. In engineering contexts, unfinished projects often stem from abandoned megastructures, such as the U.S. , a initiated in 1988 but halted in 1993 after $2 billion spent, due to congressional budget cuts amid shifting scientific priorities and cost overruns exceeding initial $4.4 billion estimates. This Texas-based endeavor, intended to surpass CERN's capabilities with a 87-kilometer ring, exemplifies how speculative large-scale —blending physics and civil works—falters without consistent political will, leaving tunnels and infrastructure incomplete. Such cases underscore causal factors like fiscal realism overriding ambitious designs, contrasting with architecture's cultural persistence in partial forms.

Software and Digital Media

Software and encompass a range of unfinished creative endeavors, including video games, applications, and digital platforms, where development often halts due to technical infeasibility, resource shortages, or pivots in corporate strategy rather than the creator's . Unlike traditional media, these projects can leave behind prototypes, leaks, or partial releases that fuel fan speculation and archival efforts, though commercial secrecy limits public access. The iterative nature of exacerbates incompletion, as evolving requirements and hardware constraints frequently render initial visions obsolete. A notable example in video game development is Sonic X-treme, Sega's planned 3D entry in the Sonic the Hedgehog series for the Sega Saturn, initiated in 1994 to compete with Sony's PlayStation. Internal disorganization, leadership changes, and the Saturn's hardware limitations led to its cancellation in late 1996, just before the console's North American launch, leaving only fragmented tech demos and artwork. This project exemplified early 3D gaming challenges, where ambitious scope outpaced available technology, resulting in no playable release despite significant investment. In operating system design, Apple's Copland project aimed to deliver a next-generation OS succeeding , with development commencing around 1994 to introduce object-oriented architecture and multitasking. By 1996, persistent instability, memory leaks, and failure to achieve performance benchmarks prompted its abandonment, forcing Apple to pivot to the acquired for what became Mac OS X. The effort consumed substantial resources but yielded no viable product, highlighting risks in rewriting foundational software from scratch without modular testing. Open-source software provides another avenue for unfinished works, with many creative projects abandoned due to maintainer burnout or shifting priorities. For instance, numerous prototypes and tools languish on platforms like , where lack of sustained contributions halts progress; archival sites document cases like unreleased expansions for classics such as , prototyped by Rare around 2005-2010 but shelved amid studio acquisitions and focus on new titles. These digital fragments often inspire community forks or mods, though legal barriers from proprietary elements restrict full revival, underscoring the tension between creative intent and collaborative sustainability in digital ecosystems. Unfinished creative works qualify for protection under the same legal standards as completed ones, requiring originality of expression and fixation in a tangible medium of expression. In the United States, the grants automatic protection upon creation, without necessitating registration or completion, though registration provides evidentiary benefits and eligibility for statutory damages in infringement suits. This protection encompasses literary manuscripts, musical compositions, visual artworks, and software code in draft form, provided they embody creative authorship beyond mere ideas or facts. The duration of copyright for such works created on or after January 1, 1978, extends for the author's life plus 70 years, applying uniformly to unpublished or incomplete materials; for anonymous, pseudonymous, or work-for-hire creations, the term is 95 years from or 120 years from creation, whichever is shorter. Posthumously, these transfer to the author's heirs, estate, or designated beneficiaries as under laws, granting exclusive control over , distribution, , and into works. Consequently, estates determine whether to publish unfinished manuscripts as fragments, attempt completion by collaborators, or suppress them entirely, often balancing artistic intent against commercial potential. Completion of an unfinished work by another party typically constitutes a , requiring permission from the holder to avoid infringement claims, as it builds upon the protected original expression. Disputes frequently arise over unauthorized modifications or public disclosures, particularly in where the (VARA) of 1990 imposes of attribution and integrity, prohibiting intentional distortion or destruction of works of recognized stature. In Foundation, Inc. v. Büchel (2007), a U.S. district court held that VARA protections attached to an unfinished installation by artist Christoph Büchel, but permitted the museum to display the incomplete piece with disclaimers disclaiming full authorship, illustrating judicial balancing of artist rights against institutional interests without mandating completion or suppression. Internationally, member states harmonize basic protections, with posthumous rights vesting similarly in successors, though —inalienable in jurisdictions like the —may further restrict alterations to preserve the creator's vision. Emerging challenges involve artificial intelligence-assisted completions of posthumous works, which risk violating if trained on or deriving from protected unfinished material without estate consent, compounded by uncertainties in authorship attribution for AI outputs.

Posthumous Exploitation and Estates

The of deceased creators assume control over unfinished works through inheritance of copyrights, which in the United States endure for the life of the author plus 70 years for works created after January 1, 1978. This legal framework empowers literary executors or trustees to decide on the , completion, licensing, or destruction of unpublished manuscripts, sketches, and drafts, often balancing the creator's intent against potential economic benefits. Such decisions can lead to significant revenue generation, as estates monetize these assets via sales, adaptations, or auctions, though this posthumous exploitation frequently ignites debates over fidelity to the artist's vision. A prominent case of posthumous defiance of intent involves , who in notes dated around 1921-1922 instructed his friend to burn all remaining manuscripts, letters, and drawings after his death on June 3, 1924. Brod disregarded these wishes, editing and publishing unfinished novels such as in 1925 and The Castle in 1926, actions that propelled Kafka to literary prominence but arguably violated his explicit directive for obliteration. Kafka had already destroyed an estimated 90% of his writings during his lifetime, underscoring his self-critical stance, yet Brod's intervention preserved what became canonical works, illustrating how executors' subjective judgments can override creator autonomy for perceived greater good or personal legacy preservation. In contrast, J.R.R. Tolkien's son meticulously compiled and edited his father's unfinished materials after J.R.R.'s death on September 2, 1973, resulting in publications like The Silmarillion in 1977 and in 1980. These efforts, drawn from extensive notes and drafts, expanded the Tolkien estate's commercial portfolio without direct contradiction of intent, as J.R.R. had not forbidden posthumous use, though Christopher later expressed reservations about further fragment-based releases before his own death in 2020. Such completions enhance interpretive depth and but risk imputing coherence to inherently fragmentary material, prioritizing economic viability over strict authenticity. Posthumous exploitation extends to visual arts, where estates authorize completions or reproductions of unfinished pieces, such as casts from original molds, raising moral rights issues under laws like the (VARA) in the U.S., which protects against distortion even for incomplete works. Critics argue that market-driven interventions, including AI-assisted finishes or manipulations of artists like Jean-Michel Basquiat's incomplete canvases, commodify intent and authenticity, often yielding high auction prices despite ethical qualms about alteration. While estates cite preservation of , empirical patterns show profit motives frequently supersede unverified claims of fidelity, as evidenced by ongoing legal disputes over attribution and in posthumous editions.

Cultural and Philosophical Implications

Value and Interpretation of Fragments

![Page from Bach's The Art of Fugue illustrating an unfinished fugue][float-right] Fragments of unfinished creative works are prized for revealing the artist's generative process, unpolished ideas, and technical explorations that completed pieces often obscure. Such remnants provide of iterative development, as seen in sketches and drafts that expose decision-making and revisions otherwise invisible beneath final layers. This transparency fosters a direct connection to the creator's , contrasting with polished outputs that prioritize aesthetic resolution over raw evolution. Historically, the interpretive allure of fragments traces to antiquity, where Roman naturalist noted that unfinished sculptures by artists like Polyclitus were admired more than finished ones for their implied vitality and viewer engagement. In the , nonfinito emerged as an intentional aesthetic, valuing suggestion and power of form over exhaustive refinement, as evidenced in Michelangelo's slaves, where incomplete figures evoke emerging life from stone. This tradition underscores a causal realism in appreciation: incompleteness activates perceptual completion by the observer, enhancing perceived dynamism through cognitive participation rather than passive consumption. Philosophically, fragments embody human finitude and unrealized potential, mirroring life's inherent contingencies and mortality-bound creativity. Interpretations often reconstruct intended wholes, as with Johann Sebastian Bach's , where the abrupt termination of the final fugue—contrapuntal to B-A-C-H motifs—has prompted analyses ranging from deliberate enigma to death-interrupted genius, without definitive resolution. Yet, such efforts risk anachronistic imposition, as editorial completions (e.g., by for Franz Kafka's novels from notebooks) may diverge from the artist's provisional intent, prioritizing cultural utility over authentic partiality. Credible scholarship thus emphasizes contextual fidelity, using fragments to illuminate process over speculative totality, acknowledging that their value persists in evoking absence and possibility. Culturally, fragments accrue worth through scarcity and mystique, often commanding higher regard in auctions or studies for embodying " interrupted," as with Leonardo da Vinci's , abandoned yet dissected for anatomical and compositional insights. This valuation stems from empirical patterns: incomplete works like Jane Austen's fragments yield biographical inferences about health decline, enriching interpretive depth without fabricated closure. In aggregate, they challenge completion-centric paradigms, promoting a realism that prizes evidentiary traces of causality—artistic struggle, interruption, or revision—over idealized finality.

Debates on Completion and Authenticity

Debates on completing unfinished creative works often hinge on the tension between an artist's explicit intent and the perceived cultural or artistic value of realization. , dying of on June 3, 1924, instructed his friend to burn all his unpublished manuscripts, including novels like and The Castle, reflecting Kafka's self-doubt and desire for oblivion. Brod disregarded this, editing and publishing the works between 1925 and 1927, arguing their genius warranted preservation despite incompleteness; he supplied endings and reordered chapters, such as finalizing with an execution scene drawn from Kafka's notes. Critics contend this intervention compromises authenticity, transforming personal fragments into public commodities that may misrepresent Kafka's fragmented vision of existential absurdity, while supporters maintain Brod's actions honored an implicit creative imperative by averting loss of invaluable material. Similar controversies arise in posthumous completions across media, where executors or collaborators assume "secondary agency" to finish works, prompting questions of attribution and fidelity. J.R.R. Tolkien's son compiled The Silmarillion, published in 1977, by selecting, editing, and inventing connective tissue from his father's vast notes, a process defended as fulfilling Tolkien's lifelong mythological project but criticized for introducing inconsistencies absent in the originals. In music, Johann Sebastian Bach's (BWV 1080), incomplete at his death on July 28, 1750, has seen multiple completions, such as Helmut Walcha's 1955 version resolving the final unfinished ; proponents argue these extrapolations reveal Bach's contrapuntal logic, yet detractors view them as speculative impositions that dilute the work's poignant ambiguity. Such efforts underscore causal realism in authorship: completions depend on interpreters' conjectures about intent, often prioritizing market viability over evidentiary restraint. Authenticity debates further interrogate whether completed unfinished works retain primary attribution to the originator, as contributions can substantively alter meaning without transparent disclosure. Scholarly posits that while secondary agents enable posthumous output, crediting the deceased fully risks philosophical , eroding trust in ; empirical cases, like modern AI-assisted completions, amplify this by automating beyond human accountability. From a first-principles standpoint, incompleteness may embody deliberate —of perfectionism, mortality, or closure—as in Michelangelo's non-finito sculptures, where rough surfaces evoke from stone, rendering forced finishes inauthentic dilutions of that intent. Empirical data from reception studies show audiences often value fragments for interpretive freedom, suggesting completions serve more as derivative homages than equivalents, with source biases in academia favoring publication to bolster canons despite evident overreach.

References

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