The more we focus on assemblages in class the more obvious
these assemblages are in my everyday life. When trying to think of Arola and
Arola’s bare repetition I think of the Lord’s Prayer that is read in just about
every church service one attentions. This is the same prayer from generation to
generation, only thing changing would be the language it is said in, or the interpretation
of the original language. Whether growing up in a church or attending one
service it is apparent that the Lord’s Prayer is a very important tradition to
the church. An example of an ethical assemblage would have to be the same
example I gave in class about Chance the Rapper’s song “How Great”. In this
song, Chance incorporates the classic hymn of “How Great is Our God” and his
own raps. He respects the original hymn by having an actual church choir sing
along with him. He then goes to add his own lyrics, rap, and rhythms on the
song creating an overall strong assemblage. He pulls on the lyrics of the hymn
in his rap which is more appealing to our generation.
Circulation is a very important piece when it comes to
assemblages. When an assemblage is circulated more people are opened up to the
work that is created. If the assemblage is a good assemblage then the circulation
reflects both the old and new, author and texts. This then makes the audience
appreciate what both sides brought to the table to create that assemblage. Fair
use also is in place to make sure that there is always something new added to
an assemblage. It enforces copyright laws so that someone can’t steal another
person’s work. With fair use an artist or author can use previous work and make
it their own in an assemblage. If it’s a good assemblage they will credit the previous
person as well.
Bad assemblages include potentially hurtful assemblages. If there
is a chance that an assemblage can be hurtful then it cannot fit the category of
a good assemblage. The audience should question potentially hurtful assemblages
since they don’t follow the rules of a good assemblage.
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