"Dare We Say 'I'?" by Ruth Behar

In the article “Dare We Say ‘I’?” by Ruth Behar, the author is interested in a new tendency in scholarly writing, personal stories. Thru this, the author is trying to show the reader that personal stories in academic writing are not selfish stories, but they are stories that unravel new cultural mysteries or create a deep connection between past historical events and recent movements.

This article’s study is based on previous writing experiences from different authors and how these additions of personal stories in these books have shown new aspects of cultural history. Some of the books used in the observation of the article are “A Room of One’s Own” by Virginia Woolf, “I, Rigoberta Menchu: An Indian Woman in Guatemala” by Rigoberta Menchu, and “Let Us Now Praise Famous Men” by James Agee among others. The author used these well-known and respected books to show how their author’s personal testimonies have affected views of various social problems talked about in these books.

The author learns from this study that personal experiences are helpful in clarifying certain cultural misconstructions, but they do not entirely solve the problem that papers should be written only theoretically without any kind of personal writing. The author expects that the reader should respond to this article with a clearer understanding of how personal writing can be included in scholarly papers and how this writing can influence narrow-minded, cultural views. The author also explains that there is a limit between including personal experiences that create a connection to a social problem and creating these personal experiences into an autobiography.

I agree with the author’s position in this argument. Personal writing can help influence cultural views and expose different aspects of a past event thus helping the audience have a clearer understanding of these past events and influence their views on the matter. This kind of writing will help in the next assignment by creating a connection between a personal experience I’ve had and my topic and explain to the audience why I have an interest in the topic. 

Presentation Rubric

1) Effective Length of Presentation
2) Preparation of Speaker
3) Volume/Clarity of Speaker
4) Quality Content of Presentation

"Every Presentation Ever: Communication FAIL" by Habitudes for Communicators

The video “Every Presentation Ever: Communication FAIL” by Habitudes for Communicators focuses on common mistakes that most people fall into when presenting material to an audience. The authors of this video intended to show its audience the mistakes people do as presenters when they probably think those mistakes go unaware.

The video does not specify of study or researched done for this video but the content gives the idea that the authors have some experience with communication. By the author’s examples and real-life mistakes displayed in the video, the audience can deduce that their experience and other people’s experience have given them enough information to come to the video’s ideas and concepts. No limitations are seen in the video, the ideas and structures are well developed and the organization’s website at the end of the video gives credibility to the authors.

The authors of this video want the audience to be aware of the common mistakes that are made when trying to communicate with others whether in a presentation or through writing. Also, a major concept of the video is to be prepared. To avoid awkward moments in a presentation, the presenter must be prepared and familiarized with the material to keep audience engaged and make presentation interesting. The power point should only be a support in case the presenter forgets something. Also, the structure of the video has to be adequate and relatable to the presenter’s idea. If the structure of the presentation does not reflect the content (ideas) of the presentation then the presenter will fail to communicate its point to the audience.

I agree with the authors’ point of view. Many presenters are unaware of their obvious gestures when they are not familiar with their material. This unpreparedness creates a wall and blocks any kind of communication between the audience and the presenter. In order to communicate effectively in the documentary, every aspect of the presentation has to be connected and have a purpose that helps explain the ideas of the video. If we fail to create a connection of ideas to the visuals in the video, then we fail to communicate. 

"Our Visual Persuasion Gap" by Martin Gurri, Craig Denny, and Aaron Harms

The article “Our Visual Persuasion Gap” by Martin Gurri, Craig Denny, and Aaron Harms focuses on the importance of visuals in conveying a message and how much they influence people’s opinions. The authors of this article are focusing on showing how persuasive different kinds of visual pathways can be and how these pathways deliver different messages.

This article does not include a statistical study or survey but it does show relationship between the author’s concepts and real life events. This relationship describes how different visual channels influence memorable historical events. A limitation that can be seen in this article is that the study is based on a governmental aspect and focuses mainly in this. Ways that visual channels impact society and other ethical issues are not described.

Visuals, according to Gurri et al., are powerfully persuasive because it creates a more personal connection from the audience to the issue in hand. Visuals introduce a link where instead of just hearing about an issue, the audience feels part of the issue as if they were bystanders.

The author’s concern regarding visual rhetoric and government communication practices lies in the power used through this channel. Government can take this channel and corrupt it and abuse by promoting certain ideals and beliefs that are anti self-governing and encourage misconduct and criminality.

The author locates many aspects of visual rhetoric, some of them are “…persuasive themes, master narratives, content and technical signatures, and indicators of audience resonance and effects.” (Gurry et al., 2010, pg. 104) Persuasive themes describe how visuals are used to target a certain audience to persuade it in maintaining certain ideals. Master narratives appeal to the audience through touching relatable stories such as martyr stories. Content and technical signatures demonstrate certain artistic and atmospheric patterns that are significant of a media. The indicators of audience resonance and effects focus on the response of the audience on certain visual media. The audience’s response helps the media understand and strategize visual connection.

The author’s suggest that understanding visual communication will help the government decipher more accurately foreign messages and prevent further attacks on the US. The author expects for the audience to understand the importance that visual communication plays in today’s society. Although an important communication channel, it can also be corrupted and used negatively to induce disaster. These ideas will help us use visuals effectively in our documentary and website.

Reference

Gurri, M., Denny, C., & Harms, A. (2010, Spring). Our Visual Persuasion Gap. U.S. Army War College, 40(1), 101-109. Retrieved from http://www.carlisle.army.mil/USAWC/Parameters/Articles/2010spring/40-1-2010_GurriDennyAndHarms.pdf

"Countercultural Architecture and Dramatic Structure" by David Mamet

The article “Countercultural Architecture and Dramatic Structure” by David Mamet focuses on purpose driven architecture and movie making. The author’s interest is to show how common mistakes architects and films makers run into when creating their art. In concentration of this concept, the author tries to show that the final product is not more important than the planning process.

This article does not involve any kind of study to support its claim. Although no study or research was done the author’s credibility lies in his previous experience of film work and his educational achievements.

According to the author, many architectural buildings have failed at its foundation. Most buildings that were built during the 60’s are not usable today because of a main reason, purpose. According to Mamet, these buildings lacked purpose. Most architects of that time focused on their own idea and vision for a building and would create the building for self-expression instead of its purpose, for it to be livable and useful.

Preproduction is the foundation for a strong, lasting, and useful building, a concept that architects in the 60’s were not familiar with according to Mamet. The concept of preproduction allows for versatility and maximum optimization of the building. When preproduction is done, an architect or builder has time to focus on the purpose and use of the building. After this is set and finalized, the architect or building can add their creativity and design.

Mamet points out in this article that human perception is an important concept to consider when creating a movie. Human perception works with an orderly timeline manner. As the brain processes different concepts trapped through the eyes, it tries to piece up all of these concepts to rationalize what is being seen. A director should be aware of this concept to create a connection between the purpose of the movie and the audience in a way that the audience can easily put together and not be confused.

The author suggests that we understand this concept in order to connect with the audience. First focus in the purpose of an assignment and then add creativity and design. For the documentary assignment, purpose will define connection with audience and will create meaningful moments and concepts. 

"Argument as Emergence, Rhetoric as Love" by Jim W. Corder

The article “Argument as Emergence, Rhetoric as Love” by Jim W. Corder focuses on ways people deals with arguments when confronted with different ideas and accounts that oppose theirs. The author gives different explanations to conflicts and analyses these definitions from which he derives an explanation and possible solution to healthy arguments.

The author uses different sources from which he dissects and interprets ways that arguments are handled and seen. His study includes articles from authors Carl Rogers, Richard E. Young, Alton L. Becker, and Kenneth L. Pike, among others. Some challenges his study faces could be support for his idea of rhetoric as love. His idea seems compelling but additional supportive ideas could help his reasoning.

Corder explains in his article that each person has a story to tell. Daily, people are confronted with decisions and many of these decisions enclose people into their own stories of matters and views of the world. According to Corder, as storytellers people tends to close themselves to other stories and neglect to view other options as possible parts of their story. This kind of thinking puts people in an opposing position where they become obliviously fastened to their own criteria and knowledge.

The author claims “…argument – rhetoric itself – must begin, proceed, and end in love.” (Corder, 1985, p. 28) In order to become open to other’s ideas and effectively become part of the discourse, a person must enter the argument with love and understanding of the audience’s emotions and feelings towards their story. In the case of two arguers with different perspectives, both must become understanding of each other’s emotions and beliefs behinds that hold their claim, this way, both arguers can openly take part of the discussion in a healthy manner.

It might be that the author’s idea of rhetoric as love is undeniable, both arguers must enter a discussion with comprehension of the other’s idea, but it seems somewhat complicated. The definition of love varies among many and peoples own narrative might influence this definition and position when entering the argument. As we progress in the Literature Review, comprehension and an unbiased mentality of other’s ideals are needed to understand the opinions of others.

References

Corder, J. W. (1985, September). Argument as Emergence, Rhetoric as Love. Rhetoric Review, 4(1), 16-32. Retrieved from JSTOR.