ESTHETICS OF PLAGIARISM
The esthetic of the fabrication defect will re-utilize the sonorous civilized trash (Everyday Symphony), be they conventional or unconventional instruments (for example: toys, cars, whistles, saws, Hertz Orchestra, street noises, etc.) all of this put into a rhythmic or dance music format, with choruses, and within the parameters of popular music.
It will recycle an alphabet of emotions contained in songs and musical symbols of the First World, that sealed each marked step of our affective and emotional life. They will be put to use in small cells of plagiarized material. This deliberate practice unleashes an esthetic of plagiarism, an esthetic of arrastâo* that ambushes the universe of the well-known and traditional music. We are at the end, thus, of the composers era, inaugurating the PLAGI-COMBINATOR era.
The Third World has a huge and rapidly increasing population. These people have been converted into a kind of androids, almost always analphabetics. It has happened here in Brazil in the slums of Rio, São Paulo and the Northeast of Brazil, and in the Third World in general. But these androids reveal some inborn defects: they think, dance and dream things that are very dangerous to the First World Bosses.
Let me explain: In the eyes of the First World, we in the Third World who think these things, and who explore our reality on the planet are like androids who are essentially defective.
To have ideas to compose, for instance is to dare. In the dawn of history, the idea of gathering vegetable fibers and inventing the art of weaving took great courage. To think will always be considered an affront.
* ARRASTÂO A dragnet; technique used in urban robbery. A small group fan out and then run furiously through a crowd, taking peoples money, jewelry, bags, sometimes even clothes.
translators note: A type of wilding with a purpose, i.e. robbery.