Open AccessBecause we play: Riffing on rhizomes, attribution and voice in duoethnographic assemblage
Author(s) -
Richard Wainwright,
S. Stevents
Publication year - 2014
Publication title -
the journal of machinic arts-based research
Language(s) - English
Resource type - Journals
ISSN - 2562-6833
DOI - 10.35937/19170701
Subject(s) - assemblage (archaeology) , lyrics , meaning (existential) , narrative , attribution , history , sociology , linguistics , literature , psychology , art , epistemology , philosophy , archaeology , social psychology
What fractured discourses they are. Our duoethnography may be seen more appropriately as collective assemblage? Collaborative assemblage? Assemblage as remix? Can the layering of the sound of Thunderstruck against the lyrics of Eminem be understood outside a discussion of fracture and the instability of meaning? When Eminem goes back and forth from such personas as Slim Shady to M&M to Marshall Mathers, whose voice prevails? How is it that his homophobic rantings in one personae can be contrasted with that of another on stage with Elton John? Similar fractures in narratives? How do they play out in duoethnography? This is more than just adhering to some constructivist understanding of epistemology