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Show 299 locals, and rolling tides that are used to produce a caring, trustworthy, and committed corporate persona. Consequently it appears that bp is relying on what Deleuze and Guattari (1980/1987) have called synchronic style, which includes music, images, and affective becomings that create new offshoots, relations, and lines of flight through art. Rather than creating iconoclasms and visual dissonances with the world, though, bp uses affect to create straight persuasive melodies that hold the network together while constantly building new networks. bp produces affective arguments; however, the style of these arguments is a very different tone than bp's earlier "Say Hey" commercials. As a complimentary force that supplements the visual assemblage, music lifts the audience and holds its affective relations at a certain plateau. This is especially true considering bp's history of catchy melodies used in advertisements when it first rebranded its logo. Rather than creating iconoclasms and visual dissonances with the world, though, bp uses affect to create networks of repair in image events after Deepwater Horizon. Music is in the background to narratives, testimonials, and statements from actual bp employees and affected people; it is not the main focus of the advertisement like it is in the "Say Hey" commercials where words are not spoken; they are sung, and the affective force is cheerful and uplifting. Post-oil-spill advertisements use music as the backdrop to real footage of adults talking directly to the audiences about the recovery of the Gulf. The voice of each narrator is incongruous with the music, without lyrics, heard faintly in the background. These musical distinctions indicate bp attempts to construct a singular, reasonable corporate subject that depends on sincerity, voice, and scientific facts as warrants to claims that the disaster in the Gulf has subsided. The soft background music, and the |
