Abstract
On his 1998 album Fabrication Defect the Brazilian composer‐performer Tom Zé articulates the discourses of postmodernity and postcoloniality. More than simply touching on various aspects of “post‐ness,” Zé forges from them an updated manifesto premised on Oswald de Andrade's 1928 “Cannibalist Manifesto.” The former Tropicália musician proposes an “Esthetics of Plagiarism” as a way to appropriate and then reformulate the products of Western techno‐capitalism. In this discussion, I will argue that the composer reconfigures the modernist and colonial tropes of primitivism and cannibalism in a subversively technophilic postmodern and postcolonial fashion—an oppositionality embodied in the album's “defective android” figure.
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