Tow #14 - Visual Text, Anti-Social Media

As social media blossomed with the advancement of technology, the anti-social media population kept pace trying to at least slow its ever growing popularity. This group of intense protestors includes Pawel Kuczynski, an artist who often creates works of art that challenge issues in American culture. In this piece, Kuczynski speaks to social media lovers and utilizes familiarity as well as coloring and juxtaposition in order to emphasize the reality of what social media really does to a person's life: it can inhibit a person from truly experiencing all life has to offer. A man is portrayed looking through a viewfinder shaped like an "f", which the audience quickly recognizes as the Facebook logo. The audience can also connect the room the man is standing in is similar to that of a jail cell, with its metal bar windows and steel walls. The artist deliberately has the wall open from the cell, so it is clear that the man is so absorbed in the social media and seeing the world through its lens that he does not take advantage in the fact that he can go out and experience it for himself. The monochromatic coloring of the jail cell in contrast to the bright and welcoming colors of the outside environment have the audience thinking, "he is really missing out on that beautiful world outside social media." By placing these two different environments in juxtaposition, it emphasizes the stupidity and ignorance of the social media user because simply a few steps away outside his cell is a completely different and frankly better world. Pawel Kuczynski expertly exposes the dangers of social media in that it can truly hold a user back from living life to the fullest through familiarity, contrasting colors, and juxtaposition.

Tow #13 - Pitchfork Review of "Chumped" by Teenage Retirement by Devon Maloney (Written text)

Pitchfork is notorious for their blatantly truthful album reviews, and reviewer Devon Maloney does not disappoint with his review of "Chumped" by Teenage Retirement. A few days before its release, Maloney reviewed the album and gave it 7.3 out of 10 points, letting fans know this is not an album they want to miss. Foremost, the jargon he uses especially connects with readers. Most interestingly, he gives a title to a feeling we all know to be true, "umami: that moment in a song when your feelings explode, whether you want them to or not" (1). No matter what genre the reader is a fan of, they can instantly relate and can infer that "Chumped" will give them this feeling of euphoria as well. He also references different bands and albums similar to "Chumped". The album parallels other artists in the way that "there are times when their licks was Weezereque [...] and in several instances ("Long Division") they channel Aye Nako's confessional" (1). By relating it to other artists, the fans of those bands instantly think, "if they're similar to my favorite band, why wouldn't I enjoy their album?" In this way, he effectively convinces his readers that "Chumped" is an album worth listening to. Another act of brilliance not only by Devon Maloney but all Pitchfork staff members is that when reviewing an album, they include a small snippet of whatever album they are reviewing. In this case, they include about 30 seconds of "Novella Ella Ella Eh" and "Hot 97 Summer Jam", both of which he reviews specifically in the review. This method tells the reader, "here, listen, and see that I know what I am talking about." The reader can hear that they like the album for themselves, and then read that the author likes it as well, so it ultimately credits the author for his opinion on the rest of the album. Through detailed jargon, references, and sampling, Devon Maloney upholds Pitchfork's reputation as a brilliant review website in his review of "Chumped" by Teenage Retirement.

Tow #12 - IRB #1 "In Cold Blood" by Truman Capote

 "In Cold Blood" by Truman Capote is the story of the Clutter family's murder and the search for the killer. It takes place in 1959's Holcomb, Kansas; a normally quiet town. When an author is retelling a story, the most import aspect of the retelling in the way the author tells it, specifically through figurative language so the reader is able to completely visually the event as it happened. Truman Capote does an incredible job of incorporating rhetorical devices into the first half of "In Cold Blood" in order to provide the reader with a vivid scene. For example, Capote employs anaphora to set the scene of Holcomb, Kansas. He describes the town "Like the water of the river, like the motorists on the highway, and like the yellow trains streaking down the Santa Fe tracks, drama, in the shape for exceptional happenings, had never stopped there" (5). The repetition in the sentence allows for the reader to connect the similarities between the water, the motorists, and the yellow trains; they are all things that do not stop when they are in motion. The reader then visualizes that the "exceptional happenings" or anything out of the norm does not stop in this quiet town, which draws a striking contrast to the odd murders that occurred here: the focus of his story. Later, he uses a simile to give us a better understanding of the Clutter family's life, more specifically Mrs. Clutter. She suffered from postnatal depression, and that "the mood of misery never altogether lifted; it lingered like a cloud that might rain or might not" (27). This raises questions to the reader: Why would Capote mention this if it was inconsequential? Did her depression correspond to the murders? The comparison between her depression and the rain cloud keeps the audience on their toes and engaged, which helps Capote relay the story. Truman Capote is a professional story teller through his use of rhetorical devices when retelling the story of the Clutter family murders in "In Cold Blood".

Tow #11 - "In Plain English: Let's Make It Official" by Charles Krauthammer (Written text)

Appearing in 2006's Time magazine, the essay "In Plain English: Let's Make It Official" states the views of author Charles Krauthammer on whether or not English should be deemed the official language of the United States. Krauthammer argues that it should, and his personal anecdotes and acknowledgement of the other side allows him to do so effectively. Right at the start, Krauthammer introduces himself as a bilingual man who grew up in Canada, a country that, "of course, had no choice about bilingualism [...] The U.S., by contrast blessed with a single common language for two centuries, seems blithely and gratuitously to be ready to import bilingualism with all its attendant divisiveness and antagonisms" (Krauthammer 1). He establishes a credibility by explaining his upbringings in a country divided by language, and contrasts it to the US which is ready to tear itself apart by bringing in this bilingualism, even though they have this opportunity to be united under one language. He then goes on to explain his view completely; that it is okay to be bilingual and practice other languages, but it is not okay to demand the U.S. government adhere to that language. When immigrating to the U.S., "the immigrant, of course, has the right to speak whatever he wants. But he must understand that when he comes to the U.S., swears allegiance and accepts its bounty, he undertakes to join its civic culture. In English" (Krauthammer 2). He makes a compelling and logical argument by appealing to the other side. He does not say, "You need to speak English fluently, and English only", which may be the fears of many opposing the term official language in regards to the relationship between the United States and English. He basically says, "You need to understand enough English to participate in our society, where our official documents will be printed in English." This argument in nothing but logical and cannot be refuted. Charles Krauthammer effectively argues his opinion that English should be the official title of the United States though personal anecdotes and addressing the other side of the argument in "In Plain English: Let's Make It Official."

Tow #10 - "Test-Tube Burgers" by Michael Specter (Written Text)

Michael Specter, a journalist for the New Yorker who focuses on science, technology, and global public health, crafts his essay "Test-Tube Burgers" in order to argue the beneficial effects of cultured meat versus the detrimental effects of harvesting meat from livestock. He effectively crafts his text through the use of chronological logod as well as drawing out a disgusted sympathy for the animals from the readers. He begins with the initial development of cultured meats, or meats produced through "tissue engineering", when biologist Alexis Carrel demonstrated, "that it was possible to keep muscle tissue alive outside the body for an extended period" (Specter 2). This was the beginning of cultured meats, which Specter goes on to argue has numerous benefits over livestock. He pushes the detrimental effects for the future if Americans continue to raise and chemically alter animals for slaughter. After explaining the environmental effects of raising livestock, like the rise in green house gas emissions or the absurd amount of land inhabited by these animals, Specter proves that "the ecological implications are daunting, and so are the implications for animal welfare: billions of cows, pigs, and chickens spend their lives crated, boxed, or force-fed grain in repulsive conditions on factory farms" (Specter 2). As Specter channels his inner PETA, he draws up the age old emotional factor; these animals are not being treated as living beings, but are instead being objectified. This idea guilts the readers into favoring cultured meat, where no living creature is harmed in the production of this food. He sums up the essay by stating research-based facts: "one study, completed last year, by researchers at Oxford and the University of Amsterdam, reported that the production of cultured meat could consume roughly half the energy and occupy just two per cent of the land now devoted to the world's meat industry" (Specter 4). Specter points out that if the environment is such a large concern to everyone around the world, why would they not support the production of cultured meats that could reduce the carbon footprint humans leave on this Earth? Through brilliant chronological logic and strong emotional appeals, Michael Spencer convinces New Yorker readers everywhere that cultured meats are the future and livestock is a thing of the past.

IRB Intro #2 - "In Cold Blood" by Truman Capote

"In Cold Blood" by Truman Capote was recommended to me by Ian and Mr. Yost because my favorite type of book is creepy thriller. The book recounts the murders of the Clutter family in 1959's Kansas. I hope to realize that in order to enjoy books of this type, they do not necessarily need to be fictional or written by Stephen King.

Tow #9 - Political Catoon, Visual Text

Political Gates, a blog dedicated to exploiting the harsh minimum wage, uses "The Minimum Wage Job" image in order to give the reader a visual representation of treatment of minimum wage workers. The word "POVERTY" is boldly stated across the image, and it can be inferred that the man carving out the V is a minimum wage worker, doing the only work while the standing above him screams down at him. The author cleverly uses juxtaposition between the two men to enhance the message that minimum wage workers are treated unfairly. The man below is clearly malnourished, his arms nothing but single lines, whereas the man standing above is obviously not missing any meals. This comparison by placing the two men near each other enforces the idea that minimum wage workers are less privileged compared to the upper class. This image also appeals to symbolism in order to convey its message of unfair treatment. The man standing above, clearly the oppressor, resembles a vulture. Vultures are known for their nature: to prey on the weak for their own personal gain. This drives home the idea that the bosses of minimum wage workers take advantage by underpaying their workers so they can obtain all the profit themselves. Sarcasm is another prevalent idea portrayed in this political cartoon. The man yells, "Keep working, it's the only way out!" to the worker, while the worker keeps digging down and burying themselves farther into poverty. This is sarcastic because its a meaner form of irony; while the man is working harder to survive and have an income, he is only digging himself a larger hole he would have to climb out of. This political cartoon is extremely effective, especially today on this very controversial subject, because it portrays the thought of many socialists that the minimum wage needs to be raised and the workers need fairer treatment.

TOW #8 - IRB Post #2

Throughout The Glass Castle, Jeanette Walls employs many rhetorical devices effectively to help her tell the story of her life, specifically life with her father. The Glass Castle is brimming with symbolism, the most evident of that being the actual idea of a glass castle. Ever since she could remember, her father promised her that when they struck gold and became rich, he would build her and the family this glass castle. No matter where his crazy shenanigans took them all around the country, building this glass castle was always the ultimate goal. This childhood idea shared between Jeanette and her father showed her belief that her father was a hero and could do the impossible. Towards, the end of the book, when he tells her he is dying, he says, "'Never did build that Glass Castle [...] Those were some damn fine plans" (Walls 279). Even though they never got to build it, the castle symbolizes that her dad would have given her the world if he could have. Even though the dream was lost, it is truly the thought behind it and the fun they had planning it together that counted. It was symbolic of the building of their relationship and the indestructible love shared between a father and his daughter. Imagery is another factor that aided Walls in the formation of her story. It plays a huge part in getting her emotion across to the reader. An example of this is when her father is walking her to the train station to leave for New York, and he would, "make a tocking sound with his tongue as if I were a horse and he was urging me on. It seemed to make him feel like he was doing what a father should, plucking up his daughters courage, helping her face the terrors of the unknown" (Walls 240). He then gives her a parting gift, "his favorite jackknife, the one with the horn handle and the blade of the blue German steel that we'd used for Demon Hunting" (Walls 240). Her description of the way her father acts shows the audience that she realizes her father is at least attempting to be a good dad and that he loves her. The description of the  jackknife is again another form of symbolism, showing that she will take her childhood ( the "demon hunting")and her father with her into adulthood, which helps the audience see that she loves her father too. Symbolism and imagery are two huge factors in The Glass Castle that help Walls in describing her life and the bond between her and her father.

TOW #7 - "The Apology: Letters from a Terrorist" by Laura Blumenfeld, Written Text

In "The Apology: Letters from a Terrorist", Laura Blumenfeld decodes and simplifies the unnecessary hatred between two groups of people in war by humanizing both groups through juxtaposition and pathos. In this New Yorker article, Blumenfeld tells of her adventure in the West Bank in visiting the family of the terrorist who shot her father thirteen years ago. All she wants to know is the shooter's perspective on the situation and the reasons why he did it, so she introduces herself as a journalist instead of the victim's daughter to get the real story instead of a biased lie. She learns along with the reader that both people, the shooter and the victim, are real human beings. She helps the reader come to this realization initially through juxtaposition. She starts off the essay by writing, "The gunman wasn't home [...] 'That's him,' the woman said, pointing over her grand children's heads to the gunman's photograph. 'He tried to kill someone,' she said in an easy voice" (Blumenfeld 1). Referring to him as "the gunman" and this emotionless account of events dehumanizes the shooter. As the story progresses and she makes contact with the man, we begin to learn details about his life, his family, his dreams, and we start to see him as an actual person when Blumenfeld refers to him by name: Omar. The placement of these two different viewpoints almost makes the reader feel guilty for viewing the man this way. Blumenfeld expertly plays on the reader's emotions and coerces them into realizing that although Omar may have gone about it in the wrong way, he is just another human being standing up for his beliefs. In a letter to her father, Omar writes, "I would like you to know I've prayed a lot for you [...] I would first like to express to you my deep pain and sorrow for what I caused you" (Blumenfeld 8). The reader feels for Omar in this moment because they realize he is not a bad man after all, just a man who has made mistakes. The powerful message that war is more than just guns and bombs, it is a battle between real people with real reasons to fight is thoroughly taught by Laura Blumenfeld in "The Apology: Letters from a Terrorist".

TOW #6 - "How It Feels to Be Colored Me" (Written)

Zora Neale Hurston pushes a powerful lesson towards the people of the past and present world who are something that makes them feel different in "How It Feels to Be Colored Me". With a title like that, the reader may make an initial assumption that this essay is about having pride in your race, but that is not the case. Hurston shows people that although people may feel different because of their gender, race, sexuality, etc., they cannot allow that to define them. She tells of the importance of pushing past these boundaries and allowing yourself to be your own person. She fully accomplishes this through personal anecdotes as well as a powerful metaphor. She tells the reader of when she moved and first realized her skin color made her different but she did not allow it to affect her when she writes, "I was not Zora of Orange County any more, I was now a little colored girl [...] but I am not tragically colored. There is no great sorrow dammed up in my soul, nor lurking behind my eyes. I do not mind at all [...] someone is always at my elbow reminding me that I am the granddaughter of slaves. It fails to register depression with me" (Hurston 115). Even from a young age, she did not allow for her skin color to define her or keep her from being herself. She clinches the end of her essay with a metaphor that leaves the reader with a thought-provoking question. She speaks of people as paper bags of different colors with jumbled contents, and if one were to dump all the contents into a huge pile and refill them all, the contents wouldn't be much different. She ends the essay with, "perhaps that is how the Great Stuffer of Bags filled them in the first place - who knows?" (Hurston 117). She is suggesting that the color of a person's bag (or skin) will never define what contents are on the inside, which is the message she conveys all along.

TOW #5 - WWF PSA, visual text

The World Wildlife Foundation, or WWF, interestingly attacks the belief of humans that only the adorable animals are worth saving in this advertisement. When people hear the term "endangered species", one of the first animals to come to mind is most like a tiger or a panda, one of the more appeal species, rather than, say, the Dodo bird. Pandas are known for their cuteness as well as their status of endangerment, which is why they are one of the main species to receive donations at the WWF, an organization dedicated to helping the wildlife of the world, especially the endangered species, not only survive but thrive as well. However, in this ad, WWF is taking a stand against that to the general public or anyone willing to donate or take action by essentially saying, "Just because other species may not be as 'adorable' as the panda, they deserve just as much help". The WWF accomplishes that through juxtaposition and appealing to pathos. The initial placement of the "panda" in the center compared to the other sea creatures surrounding it speaks volumes. It allows the audience to see the issue at hand, because some people may instinctively think, "Well, yeah, I'll help the panda, but what on Earth are those things?" This is precisely the reaction the WWF wants in order to show the audience that is the exact issue at hand. This is a work of satire because it is forcing the audience to realize the error of their ways in the hopes of changing their actions. To accomplish this, the piece also appeals to pathos, making the audience feel guilty for only donating to the pandas (or a species like it) and unintentionally ostracizing the other species. Hopefully, this public service announcement will help the world's citizens see the error of their natural instinct to help the cutest species and broaden their helping hand to the other species of the world.

TOW #4 - "The Glass Castle" by Jeannette Walls, IRB part 1

         The narration and description in the first part of Jeannette Walls' "The Glass Castle" propel the story by serving the reader a heaping plate of "What?" with a side serving of "She can't be serious." As Walls depicts her own life for anyone willing to listen at any time, she draws the reader in with a present day tale of her taxi ride home as she passes her homeless mother on the street. The confusion hits the reader like a brick wall as they ask themselves, "Why is her mother homeless if Walls is perfectly well off, even well enough to support both her parents if needed?" She then continues to narrate the story as she writes about taking her mother out to dinner and the reader begins to see inside her mothers brain. Walls, quoting her mother, writes, "'You want to help me change my life?' Mom asked. "I'm fine. You're the one who needs help. Your values are all confused'" (Walls 5). This leaves the reader wondering why her mother and father behave the way they do. Walls predicts this response because she expertly throws the reader into her childhood and introduces her family. Her description is especially effective in this part of the book because she writes just as a little girl would think. She really changes herself into the girl she once was. She also does an incredible job of describing and introducing her father. She writes, "The doctor said bandages were necessary to prevent infection. Dad stared at the doctor. 'To hell with infection,' he said. He told the doctor that I was going to be scarred for life because of him, but, by God, I wasn't the only one who was going to walk out of there scarred" (Walls 13). Walls could have very easily written "and then Dad threatened the doctor", but by depicting the situation descriptively the way she did, the reader has a better understanding of her father's personality. The purpose of the first part of "The Glass Castle" is to introduce the characters and give some background to the current situation. Walls flawless accomplishes this by giving the reader a little taste of crazy and leaving them craving more.

TOW #3 - Visual Text, Fiat PSA

             

          Despite the Spanish phrases, this powerful PSA crosses the language barrier and gets across the message without much trouble. This much needed PSA in a world where drinking and driving is becoming more and more of an issue is sponsored by Fiat, an extremely popular car company, which makes them credible to the topic. This ad speaks to all drivers globally as it simply but boldly states, “Now you see. Now you don’t. Avoid Accidents. Don’t drink and drive.” Although the message is clear and easily understandable, it is not what the message is but how Fiat conveys it that makes this piece truly effective. The most predominant rhetoric device here is pathos. Fiat brilliantly uses a child riding a bicycle as the victim to draw out intense emotions from the audience. Undoubtedly, any driver knows a child that they car strongly for, whether it be a son or daughter, a niece or nephew, or maybe even a student. This ad forces the audience to think, “What if that was me behind the wheel, and my son on his bike?” Another important aspect of this piece is the mood it creates for the audience. Fiat’s use of neutral and somewhat solemn colors gives off the feeling of emptiness and isolation. Colors play an important part in our emotions: often times red stands for anger, blue for sorrow, green for envy, etc. However, the lack of color sends an important feeling of thoughtlessness and emptiness, the emotions felt during and after drinking and driving (not that I would know). Fiat wants to raise awareness of the dangers of drinking and driving, and expertly chooses specific rhetoric devices to achieve this goal.