期刊名称：Rhizomes : Cultural Studies in Emerging Knowledge
印刷版ISSN：1555-9998
出版年度：2018
期号：34
页码：1-7
DOI：10.20415/rhiz/034.e10
出版社：Bowling Green State University
摘要：A clip of Wynton Marsalis playing with a jazz orchestra on the Late Show with David Letterman appears on YouTube. As the performance progresses, Marsalis’s usual exquisite tone and virtuosic playing slowly starts to reveal a certain disjointedness, exhibiting wayward passages, mishit notes, and cracks. Meanwhile, while struggling to maintain some semblance of a swing beat, the musical background of the string-infused jazz orchestra playing behind Marsalis becomes increasingly dissonant, sounding even a bit ominous – as if some bewitching force has been injected into the performance. What is happening? Enter the world of music video shreds. Following Deleuze and Guattari’s work regarding “minor” languages, this essay addresses the relationship between music video shreds and their object as that of a “minoritarian becoming.” The music video shred “minorizes” the original music video clip by not only stripping the audio from the original music video clip and replacing it with entirely new audio, but by playing with our expectations concerning the congruence of sound and image. In other words, the music video shred has to do with both art and culture, with both aesthetics and performativity.
关键词：Shreds; music video; YouTube; Deleuze; Guattari; minoritarian; becoming; deterritorialization
