The Link to my final paper: https://docs.google.com/document/d/1zrnkvPqvvBruECKHRtdhmc0HROK_fng8oaPoytU7M7g/edit?hl=en&authkey=CLT3z8QB&pli=1#
For the final project I chose the bar on Sixth Street, Key Bar, where I work and analyzed the decor, set-up, and architecture of it. I also analyzed two different types of closing songs; each emitting a different type of emotion and outcome from our customers. I used Aristotle, Longaker, Walker, Edbauer, Brennan, and Hyde-Smith to help in my analyzation and explain why our customers stay longer and purchase more alcohol along with they they had certain emotions due to each closing song (Pantera compared to Journey). My claim is that the closing song combined with alcohol has a huge affect on the emotions emitted by the customers along with if they will leave happily or not. I also am claiming that the decor and set-up of our bar was chosen exclusively for reasons of bringing in more customers and getting them to feel comfortable and spend as much money as possible.
I came to the conclusion by explaining group mind, affect, interpretation, and behavior, cities as weather systems, and showing Aristotle's and Walkers connections of alcohol and angry music that Key Bar is set up in two perfect sections to attract a certain type of customer for each. This also helped explain why two very different types of music (Pantera and Journey) bring out anger and calmness in our customers while we our trying to get them out at closing.
Thursday, May 5, 2011
Thursday, April 28, 2011
Final project rough draft
Reed Daw
4/25/11
RHE330E
Davis
The Rhetoric of the Bar
Aristotle points out in Problems 30 that “persons sometimes take on melancholic moods when they drink large quantities of wine, or become merciful or savage or silent or affectionate, even to kiss on the mouth someone whom no one would ever kiss if he were sober; and people of naturally melancholic dispositions are especially prone to such mood swings because they have an excess of black bile (953-955a).” I work at a bar downtown on Sixth Street and have had the luck to be a bigger than average guy, which means I’m always posted up at the door. During my time spent working at several different bars I’ve seen a wide variety of people act differently toward every type of setting. I’m going to break down the bar I currently work at, Key Bar, and explain the rhetoric behind the décor, the setting, the furniture, and even the opening and closing choices of music. I’ll be using Longaker-Walker’s chapter on Affect, Walkers Pathos and Katharsis, Edbauer, Hyde-Smith, Aristotle, and Bitzer to explain why everything is set up so perfectly in this particular bar.
Rhetoric in movement is a big part of what goes on at the bar, especially when it comes to what music is being played. While each night closes and while we frantically shuffle everyone out the door, the manager on duty decides what song would be best to finish the night off with/kick everyone out with. On one particular night the manager chose a Pantera song. I think he chose this song thinking it would drastically switch the mood of the bar, from the normal techno to raging metal. My first thoughts were “what are the outcomes of normally hearing this song?” The answer came quick and clear, and I was spot on. The women all left with no fuss, clearly showing that they cannot move their body to this vicious song. The men on the other hand, well, the drunker men decided to do exactly what anyone at a Pantera concert does with loads of booze in them. Their blood started boiling, their heads started rocking back and forth, and I was stuck at the door trying to get these fiends out.
Aristotle argues that “a state of pathos consists simultaneously of its characteristic physical condition and the perceptions or cognitions that both motivate and define it (79).” The reason these men reacted accordingly to this song is because they felt the certain symptoms of anger piling on: “blood boiling around the heart without any accompanying perception of insult is not yet anger but only a diffuse state, a choleric temper, a readiness to be provoked to anger by the first plausible provocation that comes along (79).” Pantera, as we all know, is a pretty heavy band, so this choice of music has ignited those first thoughts that we connect with this genre of music: head-banging, moshing, and rowdy behavior. In Aristotle’s definition we can see that all these men needed were the flick of a switch, the music, and they are now in the “choleric, diffused state,” which means they only need a little push to achieve the desired complete emotion of anger.
On the other hand, we can easily calm down an entire crowd of people through the use of effective music. The night I will be analyzing was during South-By week. We had a DJ who played every night, and always ended out the night with Journey’s Don’t Stop Believing. The immediate come down from “bumping and grinding” to a relaxed calm state was very surprising and made me curious as to why the partygoers could immediately change their entire behavior with a simple song change.
I can assume that since Pantera is defined as angry music, then Journey has to be defined as calm music, as Aristotle says is the opposite emotion of anger. Aristotle says that “growing calm may be defined as a settling down or quieting of anger. In general, the things that make us calm may be inferred by seeing what the opposites are of those that make us angry (60).” If my assumptions are correct, and Journey is in fact the opposite emotional type of music from Pantera, then the reaction the customers had were correct.
The next topic of Key Bar that holds a lot of rhetorical qualities is the setting and the décor. These two qualities were planned and constructed according to a strict set of thoughts to get the customers to stay longer, spend more money, and drink more!
When you first enter Key Bar there are three different areas to choose from. First, we have the inside area, the most well lit part, which is mainly taken up by private parties. Second, we have the outside roofed over area, which is pretty dark and holds the most amount of people. Lastly, we have a no roofed over outside area with a fire pit in the middle. I am going to use Longaker-Walker, Aristotle, Hyde-Smith, and Edbauer to show how each of the different sections were put together for a very particular reason and for different types of customers.
As Edbauer says, “Amin and Thrift argue that cities are more about movements and processes than the elements that materially construct their borders (11).” The cities in this case being sections one, two, and three of the bar. According to Edbauer, each city, or section of the bar “is a container for the local elements within a given space (11),” just like any other bars on Sixth Street would be another different container. Edbauer then uses Thrift and Amin to show that “the city becomes a kind of weather system, a rapidly varying distribution of intensities. These sites (the sections of the bar), are sustained by the amalgam of processes, which can be described in ecological terms of varying intensities of encounters and interactions-much like a weather system (12).” Each different section of the bar can be called a different kind of city because each section has been made to support a different type of encounter and interaction as I will discuss next.
The first area, the inside area, is well lit compared to the rest of the bar and is used mainly for parties so you can see everyone and converse with the entire group. If you are attempting to pick up a woman, the inside area is not your friend. There is one huge main table that seats about 16 people, and this could be considered a city all in itself. The grouping of a mass of people is perfect for this area. The lighting is brighter because you want to be able to recognize everyone you already know, and the grouping environment is used to create emotions of happiness, excitement, and energy throughout this section.
To quote Smith-Hyde, “Spoken to now in the name of the public, people are led to believe that they possess the requisite knowledge for making competent decisions. Is this to say the people are the greatest of Sophists (447)?” In this case, yes, the customers (people) are the greatest sophists, because as Smith-Hyde says, “the public should be understood as individuals whose personal motivations for power necessitate a rhetoric which can persuade people that they are the very seat of sovereignty (446).” We (the bar) are the rhetoricians in this case, and we have persuaded the customers in a group that they are in the best place, which convinces them to feel and emit good emotions. So, according to Aristotle, the bar is “putting the hearers into their right frame of mind (450).” Aristotle claims that “the orator’s goal is to bring listeners into conformance by moving them into the same state of mind (452),” which is done by using the large table and the lighting to make sure everyone stays in close proximity, which will make them stay happy.
The roofed over outside area has two different sections. There is a bar sitting area, where you can easily talk to whomever you please. It was built so that everyone has to be mashed up together yelling drink orders over other people’s heads. The second part is away from the bar and has tables designated for groups and tables designated for couples only. The lighting in this area is very dim and the music is turned up much higher than the rest of the bar.
I’m going to use Longaker-Walker’s description of affect, behavior, and interpretation to analyze this area of the bar. Although Longaker-Walker says we’re “supposed to think-not feel-before we act, (208)” this area/city does exactly the opposite. Longaker-Walker analyze affect, interpretation, and behavior through a Horror Movie and with the Fear of Looming Predators. The moment you walk into Key Bar you are forced into this area of the bar and your affect, your “bodily disposition,” is a feeling of coolness, of calmness, and of an intensifying excitement. Longaker-Walker says that “the looming phenomenon (or in this case being surrounded by tons of new people) triggers a common affect (excitement). Even if we perceive nothing more than a dramatic change in light we will feel and do these things (210).” We are affected from entering an entirely different mood and setting, our bodies are changing and we are now interpreting the environment. As Longaker-Walker says, “it is difficult to say while feeling excitement and consciously fleeing the scene (or being bombarded with loads of partiers), we consciously interpret the situation. Our behavior is too quick to allow such a conscious appraisal (210).” This is exactly the reaction the bar wants in this area. You have no time to think about what’s going on except that this is an extremely exciting scene. Your body can go through the affect, but it cannot interpret it because “our visual registration (of the scene) may bypass the brain systems where conscious deliberation appears to happen (210).” In my opinion, this strategy offers new customers only one solution, and that is to follow whatever the crowd is doing, which the best possible choice is considering everyone else looks like they are having a great time. So what ends up happening to interpretation?
Longaker-Walker says that “this does not mean interpretation doesn’t occur. It just means we can’t restrict our definition of interpretation to consciously experienced, higher-order cognition (210).” Instead we submit and conform to one unit, or one city, and follow the group’s emotions.
The last part is the outside area with no roof. This section has been dubbed as the area to pick up people of the opposite sex. The fire pit in the middle pushes everyone together in a romantic, candle-lit setting, while the seats are all one continuous bench, forcing you to sit close to the person nearest you, whether you like it or not. The music is higher than the first area, but lower than the second, giving you enough space to think, while still letting the music take over.
4/25/11
RHE330E
Davis
The Rhetoric of the Bar
Aristotle points out in Problems 30 that “persons sometimes take on melancholic moods when they drink large quantities of wine, or become merciful or savage or silent or affectionate, even to kiss on the mouth someone whom no one would ever kiss if he were sober; and people of naturally melancholic dispositions are especially prone to such mood swings because they have an excess of black bile (953-955a).” I work at a bar downtown on Sixth Street and have had the luck to be a bigger than average guy, which means I’m always posted up at the door. During my time spent working at several different bars I’ve seen a wide variety of people act differently toward every type of setting. I’m going to break down the bar I currently work at, Key Bar, and explain the rhetoric behind the décor, the setting, the furniture, and even the opening and closing choices of music. I’ll be using Longaker-Walker’s chapter on Affect, Walkers Pathos and Katharsis, Edbauer, Hyde-Smith, Aristotle, and Bitzer to explain why everything is set up so perfectly in this particular bar.
Rhetoric in movement is a big part of what goes on at the bar, especially when it comes to what music is being played. While each night closes and while we frantically shuffle everyone out the door, the manager on duty decides what song would be best to finish the night off with/kick everyone out with. On one particular night the manager chose a Pantera song. I think he chose this song thinking it would drastically switch the mood of the bar, from the normal techno to raging metal. My first thoughts were “what are the outcomes of normally hearing this song?” The answer came quick and clear, and I was spot on. The women all left with no fuss, clearly showing that they cannot move their body to this vicious song. The men on the other hand, well, the drunker men decided to do exactly what anyone at a Pantera concert does with loads of booze in them. Their blood started boiling, their heads started rocking back and forth, and I was stuck at the door trying to get these fiends out.
Aristotle argues that “a state of pathos consists simultaneously of its characteristic physical condition and the perceptions or cognitions that both motivate and define it (79).” The reason these men reacted accordingly to this song is because they felt the certain symptoms of anger piling on: “blood boiling around the heart without any accompanying perception of insult is not yet anger but only a diffuse state, a choleric temper, a readiness to be provoked to anger by the first plausible provocation that comes along (79).” Pantera, as we all know, is a pretty heavy band, so this choice of music has ignited those first thoughts that we connect with this genre of music: head-banging, moshing, and rowdy behavior. In Aristotle’s definition we can see that all these men needed were the flick of a switch, the music, and they are now in the “choleric, diffused state,” which means they only need a little push to achieve the desired complete emotion of anger.
On the other hand, we can easily calm down an entire crowd of people through the use of effective music. The night I will be analyzing was during South-By week. We had a DJ who played every night, and always ended out the night with Journey’s Don’t Stop Believing. The immediate come down from “bumping and grinding” to a relaxed calm state was very surprising and made me curious as to why the partygoers could immediately change their entire behavior with a simple song change.
I can assume that since Pantera is defined as angry music, then Journey has to be defined as calm music, as Aristotle says is the opposite emotion of anger. Aristotle says that “growing calm may be defined as a settling down or quieting of anger. In general, the things that make us calm may be inferred by seeing what the opposites are of those that make us angry (60).” If my assumptions are correct, and Journey is in fact the opposite emotional type of music from Pantera, then the reaction the customers had were correct.
The next topic of Key Bar that holds a lot of rhetorical qualities is the setting and the décor. These two qualities were planned and constructed according to a strict set of thoughts to get the customers to stay longer, spend more money, and drink more!
When you first enter Key Bar there are three different areas to choose from. First, we have the inside area, the most well lit part, which is mainly taken up by private parties. Second, we have the outside roofed over area, which is pretty dark and holds the most amount of people. Lastly, we have a no roofed over outside area with a fire pit in the middle. I am going to use Longaker-Walker, Aristotle, Hyde-Smith, and Edbauer to show how each of the different sections were put together for a very particular reason and for different types of customers.
As Edbauer says, “Amin and Thrift argue that cities are more about movements and processes than the elements that materially construct their borders (11).” The cities in this case being sections one, two, and three of the bar. According to Edbauer, each city, or section of the bar “is a container for the local elements within a given space (11),” just like any other bars on Sixth Street would be another different container. Edbauer then uses Thrift and Amin to show that “the city becomes a kind of weather system, a rapidly varying distribution of intensities. These sites (the sections of the bar), are sustained by the amalgam of processes, which can be described in ecological terms of varying intensities of encounters and interactions-much like a weather system (12).” Each different section of the bar can be called a different kind of city because each section has been made to support a different type of encounter and interaction as I will discuss next.
The first area, the inside area, is well lit compared to the rest of the bar and is used mainly for parties so you can see everyone and converse with the entire group. If you are attempting to pick up a woman, the inside area is not your friend. There is one huge main table that seats about 16 people, and this could be considered a city all in itself. The grouping of a mass of people is perfect for this area. The lighting is brighter because you want to be able to recognize everyone you already know, and the grouping environment is used to create emotions of happiness, excitement, and energy throughout this section.
To quote Smith-Hyde, “Spoken to now in the name of the public, people are led to believe that they possess the requisite knowledge for making competent decisions. Is this to say the people are the greatest of Sophists (447)?” In this case, yes, the customers (people) are the greatest sophists, because as Smith-Hyde says, “the public should be understood as individuals whose personal motivations for power necessitate a rhetoric which can persuade people that they are the very seat of sovereignty (446).” We (the bar) are the rhetoricians in this case, and we have persuaded the customers in a group that they are in the best place, which convinces them to feel and emit good emotions. So, according to Aristotle, the bar is “putting the hearers into their right frame of mind (450).” Aristotle claims that “the orator’s goal is to bring listeners into conformance by moving them into the same state of mind (452),” which is done by using the large table and the lighting to make sure everyone stays in close proximity, which will make them stay happy.
The roofed over outside area has two different sections. There is a bar sitting area, where you can easily talk to whomever you please. It was built so that everyone has to be mashed up together yelling drink orders over other people’s heads. The second part is away from the bar and has tables designated for groups and tables designated for couples only. The lighting in this area is very dim and the music is turned up much higher than the rest of the bar.
I’m going to use Longaker-Walker’s description of affect, behavior, and interpretation to analyze this area of the bar. Although Longaker-Walker says we’re “supposed to think-not feel-before we act, (208)” this area/city does exactly the opposite. Longaker-Walker analyze affect, interpretation, and behavior through a Horror Movie and with the Fear of Looming Predators. The moment you walk into Key Bar you are forced into this area of the bar and your affect, your “bodily disposition,” is a feeling of coolness, of calmness, and of an intensifying excitement. Longaker-Walker says that “the looming phenomenon (or in this case being surrounded by tons of new people) triggers a common affect (excitement). Even if we perceive nothing more than a dramatic change in light we will feel and do these things (210).” We are affected from entering an entirely different mood and setting, our bodies are changing and we are now interpreting the environment. As Longaker-Walker says, “it is difficult to say while feeling excitement and consciously fleeing the scene (or being bombarded with loads of partiers), we consciously interpret the situation. Our behavior is too quick to allow such a conscious appraisal (210).” This is exactly the reaction the bar wants in this area. You have no time to think about what’s going on except that this is an extremely exciting scene. Your body can go through the affect, but it cannot interpret it because “our visual registration (of the scene) may bypass the brain systems where conscious deliberation appears to happen (210).” In my opinion, this strategy offers new customers only one solution, and that is to follow whatever the crowd is doing, which the best possible choice is considering everyone else looks like they are having a great time. So what ends up happening to interpretation?
Longaker-Walker says that “this does not mean interpretation doesn’t occur. It just means we can’t restrict our definition of interpretation to consciously experienced, higher-order cognition (210).” Instead we submit and conform to one unit, or one city, and follow the group’s emotions.
The last part is the outside area with no roof. This section has been dubbed as the area to pick up people of the opposite sex. The fire pit in the middle pushes everyone together in a romantic, candle-lit setting, while the seats are all one continuous bench, forcing you to sit close to the person nearest you, whether you like it or not. The music is higher than the first area, but lower than the second, giving you enough space to think, while still letting the music take over.
Monday, April 18, 2011
Twice the Edbauer
I just realized that I read, and blog posted about this Edbauer piece rather than the executive one last time. That explains some of the confusion.
Also, I realized I talk on nostalgia a lot. I got confused and used the wrong word for the Keep Austin Weird logo. In class right now we talked about it being more of social class or a social setting. So maybe replace that with nostalgia considering nostalgia is something that brings us back to a childhood memory or anything of the past.
Anyways, for this same Edbauer blog post I will talk about the "Situations Unbound: City Problems" section. Edbauer gives the example of local Austin businesses having to close down and move out due to high property and tax costs. The main focus of the section is the rhetoric of nostalgia towards the Keep Austin Weird logo.
The feeling of nostalgia is a very persuasive rhetorical device because of its effects on consumers or an audience. Nostalgia gives us a special connection to an object or place that gives it the feeling of being our own. It also plays a huge role in the advertisement world, and is the connection that every ad agency looks to evoke when they are trying to sell a product.
The interesting thing about the Keep Austin Weird logo is that while searching for a unique and nostalgic logo for Austonian's to have, they also got something else, a protective aura for local businesses all across Austin.
"The phrase, Keep Austin Weird quickly passed into the cities cultural circulation, taking on the importance of a quasi-civic duty. One pledge pitch from a local radio station told listeners, "you too can work towards Keeping Austin Weird by pledging to keep KOOP Radio on the air." The word PLEDGE is what describes my feelings of the logo best. When you pledge to the Keep Austin Weird logo, you are also pledging to hold your Austin roots together and only invest in the right businesses. Waterloo Records and the Bookstore that created the logo have legitimately created a symbol that screams out HIPNESS.
What better way to reach out to the citizens of Austin then to make them feel like they are being extra hip! Edbauer analyzes the rhetoric of the Keep Austin Weird logo in the following pages, but I thought I'd give my take on it. Let me know what you all think of nostalgia and/or the Keep Austin Weird logo and the rhetoric behind it.
Or...just share a random idea.
Also, I realized I talk on nostalgia a lot. I got confused and used the wrong word for the Keep Austin Weird logo. In class right now we talked about it being more of social class or a social setting. So maybe replace that with nostalgia considering nostalgia is something that brings us back to a childhood memory or anything of the past.
Anyways, for this same Edbauer blog post I will talk about the "Situations Unbound: City Problems" section. Edbauer gives the example of local Austin businesses having to close down and move out due to high property and tax costs. The main focus of the section is the rhetoric of nostalgia towards the Keep Austin Weird logo.
The feeling of nostalgia is a very persuasive rhetorical device because of its effects on consumers or an audience. Nostalgia gives us a special connection to an object or place that gives it the feeling of being our own. It also plays a huge role in the advertisement world, and is the connection that every ad agency looks to evoke when they are trying to sell a product.
The interesting thing about the Keep Austin Weird logo is that while searching for a unique and nostalgic logo for Austonian's to have, they also got something else, a protective aura for local businesses all across Austin.
"The phrase, Keep Austin Weird quickly passed into the cities cultural circulation, taking on the importance of a quasi-civic duty. One pledge pitch from a local radio station told listeners, "you too can work towards Keeping Austin Weird by pledging to keep KOOP Radio on the air." The word PLEDGE is what describes my feelings of the logo best. When you pledge to the Keep Austin Weird logo, you are also pledging to hold your Austin roots together and only invest in the right businesses. Waterloo Records and the Bookstore that created the logo have legitimately created a symbol that screams out HIPNESS.
What better way to reach out to the citizens of Austin then to make them feel like they are being extra hip! Edbauer analyzes the rhetoric of the Keep Austin Weird logo in the following pages, but I thought I'd give my take on it. Let me know what you all think of nostalgia and/or the Keep Austin Weird logo and the rhetoric behind it.
Or...just share a random idea.
Wednesday, April 13, 2011
Final Project Proposal
The Link to my final paper: https://docs.google.com/document/d/1zrnkvPqvvBruECKHRtdhmc0HROK_fng8oaPoytU7M7g/edit?hl=en&authkey=CLT3z8QB&pli=1#
For the final project I chose the bar on Sixth Street, Key Bar, where I work and analyzed the decor, set-up, and architecture of it. I also analyzed two different types of closing songs; each emitting a different type of emotion and outcome from our customers. I used Aristotle, Longaker, Walker, Edbauer, Brennan, and Hyde-Smith to help in my analyzation and explain why our customers stay longer and purchase more alcohol along with they they had certain emotions due to each closing song (Pantera compared to Journey). My claim is that the closing song combined with alcohol has a huge affect on the emotions emitted by the customers along with if they will leave happily or not. I also am claiming that the decor and set-up of our bar was chosen exclusively for reasons of bringing in more customers and getting them to feel comfortable and spend as much money as possible.
I came to the conclusion by explaining group mind, affect, interpretation, and behavior, cities as weather systems, and showing Aristotle's and Walkers connections of alcohol and angry music that Key Bar is set up in two perfect sections to attract a certain type of customer for each. This also helped explain why two very different types of music (Pantera and Journey) bring out anger and calmness in our customers while we our trying to get them out at closing.
For the final project I chose the bar on Sixth Street, Key Bar, where I work and analyzed the decor, set-up, and architecture of it. I also analyzed two different types of closing songs; each emitting a different type of emotion and outcome from our customers. I used Aristotle, Longaker, Walker, Edbauer, Brennan, and Hyde-Smith to help in my analyzation and explain why our customers stay longer and purchase more alcohol along with they they had certain emotions due to each closing song (Pantera compared to Journey). My claim is that the closing song combined with alcohol has a huge affect on the emotions emitted by the customers along with if they will leave happily or not. I also am claiming that the decor and set-up of our bar was chosen exclusively for reasons of bringing in more customers and getting them to feel comfortable and spend as much money as possible.
I came to the conclusion by explaining group mind, affect, interpretation, and behavior, cities as weather systems, and showing Aristotle's and Walkers connections of alcohol and angry music that Key Bar is set up in two perfect sections to attract a certain type of customer for each. This also helped explain why two very different types of music (Pantera and Journey) bring out anger and calmness in our customers while we our trying to get them out at closing.
Monday, April 11, 2011
Oh My Ahmed
"Hate is economic." Is it economic? According to Ahmed the answer is yes and for good reason. Ahmed does a great job of breaking down the emotions of fear and hate, two of the most powerful negative emotions. Ahmed says on page 3, "together we hate, and this hate is what makes us together." Although Ahmed is talking about the Aryan nation and their hate for basically every other race, I think this can apply to mostly any group that is directed toward hating another. I think we can say the exact same for fear, together we fear (and/or hate), and this fear is what makes us together.
Ahmed could have used this line for her part on terrorism as well. The ones fearing in this case being the American population. It also dawned on me that by fearing someone you would be more inclined to hate them as well. Ahmed shows the great struggle of Arab, South Asian, and Muslim men through many stereotypes of being terrorists. So, being educated to be afraid of these races has also made a good number of people hate them too.
Another great line, "What is detrimental as coming-close carries with it the possibility that it may stay away and pass us by; but it actually enhances fear" (pages 9-10). She talks a little about horror movies and the same effect they have on us like this line says. Fear is what we are waiting for, "to that which is approaching rather than already here." 9/11 made us fear future terrorist attacks like the one on that horrible day and also made us fear the certain races we were informed to fear.
The rambling is over, one question for you is what do you think would be a good way to stop this fear? You could also think how to stop fear while at the same time not creating hate either. Or just let me hear anything you think about these emotions and their affects on us all.
Ahmed could have used this line for her part on terrorism as well. The ones fearing in this case being the American population. It also dawned on me that by fearing someone you would be more inclined to hate them as well. Ahmed shows the great struggle of Arab, South Asian, and Muslim men through many stereotypes of being terrorists. So, being educated to be afraid of these races has also made a good number of people hate them too.
Another great line, "What is detrimental as coming-close carries with it the possibility that it may stay away and pass us by; but it actually enhances fear" (pages 9-10). She talks a little about horror movies and the same effect they have on us like this line says. Fear is what we are waiting for, "to that which is approaching rather than already here." 9/11 made us fear future terrorist attacks like the one on that horrible day and also made us fear the certain races we were informed to fear.
The rambling is over, one question for you is what do you think would be a good way to stop this fear? You could also think how to stop fear while at the same time not creating hate either. Or just let me hear anything you think about these emotions and their affects on us all.
Monday, April 4, 2011
Edbauer blog!
So, after some confusing texts, I think Edbauer has definitely been much easier to understand. Through her first several pages she starts talking about rhetoric and the motion of rhetoric. She says that "rhetoric is always in a state of flux," which basically means that it's always moving and that the emotions it has can be and are different at all times. This connects with what she says in the next page, "rhetorical situation is part of an ongoing social flux." It's like I said in the last comment: rhetoric is always in motion and is constantly changing due to the rhetorical situation.
So this was more of an elementary connection, but I think it helps with what Edbauer says next...
She then quotes Remy Chauvin who talks about "an apparel evolution of two beings that have absolutely nothing to do with each other." Remy did the study about a cat and a baboon who have nothing in common with each other, but who have "transversal communication with each other through the genealogical tree." I think this is a good study/main point because it shows that by being around each other, i.e. an audience, you can spread emotions and when you push it even further you can even spread a virus type.
The last quote I liked and can ask a question with follows with baboon/cat study: "what is shared (between the cat and baboon) are certain emotions and contagions." So can emotions be shared and felt by being around someone or something for long enough? What do you all think?
So this was more of an elementary connection, but I think it helps with what Edbauer says next...
She then quotes Remy Chauvin who talks about "an apparel evolution of two beings that have absolutely nothing to do with each other." Remy did the study about a cat and a baboon who have nothing in common with each other, but who have "transversal communication with each other through the genealogical tree." I think this is a good study/main point because it shows that by being around each other, i.e. an audience, you can spread emotions and when you push it even further you can even spread a virus type.
The last quote I liked and can ask a question with follows with baboon/cat study: "what is shared (between the cat and baboon) are certain emotions and contagions." So can emotions be shared and felt by being around someone or something for long enough? What do you all think?
Wednesday, March 30, 2011
Visual Appeal, Rough Draft.
http://prezi.com/uqzvhvi98pim/rhe-330e/ (link to Prezi)
The College Labyrinth
In my visual argument I claim that living the college life gives us all a guideline for becoming adults, but the path to victory is double-sided. For every happy memory, there is a sad one to follow suit, but once we get to the end, we are relieved for having made it to the finish line. I confirm this argument by showing the happy side of college life, the side that we all, or most, look forward to, and compare it with the strenuous fight it takes to relieve lots of stress and earn our degree along the way.
The first image in my Prezi is the UT tower at night lit up blazing with orange, bearing the number one to show our great victory. The UT tower is the first or one of the first things every student and prospective student sees at UT. It marks the start of a great year and makes us all feel happy to have pride in our school. The second image displays what we get to do in our free time. Not everyone attends the football games, but the great majority of us has attended at least one game and knows the feeling of pride and joy as the cannon sounds or of the booming roar of the crowd. UT football unites us all as one big mass and shows the pride and joy of thousands of colleges students brought together.
The third and fourth images show the opposite sides of how campus and our minds look when we are under a lot of pressure. The Twilight Zone-resembling tower creates feelings of stress and pulls us into a world we cannot escape, which could be finals, mid-terms, roommate problems, or any of the endless lists of college anxieties. The image of cram studying is one we are all familiar with. It creates stress and anxiety because cram studying feels exactly like what the picture displays, having our heads crushed by knowledge.
The fifth, sixth, and seventh images represent our friends, loved-ones and our enemies. Having a girlfriend or boyfriend evokes a lot of happiness and is a great anxiety-free tool. They can be our best friends and each of us that has one know we go to them to seek comfort in our stressful times. The sixth picture is of the familiar Delta Tau Chi boys of Animal House. They are a brotherhood of friends who will take care of each other through thick and thin. They represent the best friends you’ve made along the way who make you feel happy and safe when you need someone to talk to or lean on; but with each friend you make you have someone who is out there to haze you, to hurt you, to make you feel wanted and then thrown out. The sixth picture, although humorous, shows us that we will be tested by fake friends along the way.
The last two images can basically be formed into one. Feelings of happiness arise knowing we have made it through some of our toughest years. We have a foundation laid out for us and feel accomplished through each painstaking step we’ve taken. The final image is not only a picture, but a symbol that represents who we are and where we’re from. UT’s hook-em sign symbolizes pride in our school, our state, and ourselves and makes us all feel extremely happy knowing that we go to UT. Whether we’ve sported it in a Facebook picture, at a football game, or to acknowledge a friend, the hook-em sign brings us all together as the UT family and shows that each picture was a step forward in our path to making it through college.
Photos
1. Private Collection
5. http://www.google.com/imgres?imgurl=http://nationallampoon.com/wp-content/uploads/2009/07 3/30/11
9. Private Collection.
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