scicluna-reverberationandthe-2015.pdf (391.08 kB)
Reverberation and the parodic: an invitation to the spaces of sound
Jacques Rancière in The Politics of Aesthetics speaks of artistic practices ‘as ways of ‘doing and making’ that intervene in the general distribution of ways of doing and making’ (2013: 8). ‘Reverberation’ in the various dimensions explored by this paper is the compelling and parodic force, which signals the transformative potential of the spaces of music, word and sound collaborations. This paper will present the mixed impulse of parody as repetition with difference in Deleuze’s sense, or ironic ‘trans-contextualisation’ (Hutcheon 2000: 32), contextualised by Foucault’s heterotopic thought, Steve Reich’s minimalist music, and Brian Eno’s recognition of ambient sound in 1975 (Howard 2004: 91). Also explored is Hutcheon’s investigation of the etymology of parody as ‘counter-song’, which suggests intimacy and accord. The latter understanding of parody will be of particular importance in a discussion of New York-based band, The National.
History
Journal
TextVolume
19Issue
2Season
Special issue: Art as parodic practiceArticle number
9Pagination
1 - 13Publisher
Australian Association of Writing ProgramsLocation
[Canberra, A.C.T.]eISSN
1327-9556Language
engPublication classification
C1 Refereed article in a scholarly journal; C Journal articleCopyright notice
2015, Josephine SciclunaUsage metrics
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