Post-politics and riotous music
New Formations - ISSN 0950-2378
Volume 2008 Number 66
Post-politics and riotous music
David Bennett pages -
Abstract
This article situates Lyotard’s musical aesthetics in relation to his political or ‘anti-political’ theory as a soixante-huitard manqué who wished to conceive of the May ‘68 student-led uprising in France as an ‘event’ that threw the rules of historiography and political praxis into crisis, just as the postmodern musical ‘event’ puts the epistemology and phenomenology of sound into crisis, destabilising the subjects of musical creation and appreciation. Testing Lyotard’s theory against an example of musical practice, Bennett asks whether it can be squared with a composition such as Bob Ostertag’s All the Rage, which appears to answer to Lyotard’s definitions of an ‘absolutely aporetic’ post-musical event while nonetheless serving an emancipatory project (in this instance, gay rights). KEYWORDS: Lyotard, May ‘68, postmodernism, Bob Ostertag, All the Rage, aesthetics, event
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To cite this article
David Bennett (2008) Post-politics and riotous music, New Formations, 2008(66), -