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
Text
Volume
19
Season
Special issue: Art as parodic practice
Article number
9
Pagination
1-13
Location
[Canberra, A.C.T.]
Open access
Yes
eISSN
1327-9556
Language
eng
Publication classification
C1 Refereed article in a scholarly journal, C Journal article