Veronica Stigger's (2007) postproduction: notes on Gran Cabaret Demenzial
DOI:
https://doi.org/10.1590/2316-40187404Keywords:
postproduction; contemporary literature; Veronica Stigger.Abstract
The objective of this article is to discuss postproduction practices and aesthetic theory by Nicolas Bourriaud (2009), from the book Gran Cabaret Demenzial, by Brazilian writer Veronica Stigger (2007), as his literature is characterized by questioning the use of forms, as well as hybrid and expansive manifestations. Bearing in mind that postproduction does not work with raw materials but with pre-existing available materials displaced from their original meaning, the study focuses on Stigger’s (2007) appropriation practices. In order to broaden the discussion, Marjorie Perloff’s (2013) notion of non-original genius and authorship in progress, discussed in the work Indicionário do contemporâneo (Pedrosa et al., 2018) are also used, as well as the concept of traumatic realism by Hal Foster (2005) and Karl Erik Schollhammer (2012).
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