Goal: To understand the importance of detail in a presentation that is both informative and rhetorical. You should be able to use such devices as the visual-verbal enthymeme to create a presentation that is engaging and persuasive.
Illustrative Example: “Creativity as Commodity: Marketing the New Cool,” a PowerPoint presentation (please download in PowerPoint; the formatting of the version on SlideShare is messed up). The slides shown are closely tied to the words spoken during the presentation. Please refer to the written script. Neither the rhetorical nor the informative functions can come through without both the verbal and the visual aspects.
Let’s begin by defining some terms that are central to this lesson. Rhetoric, in its most basic form, is the study of how to use language effectively. The term often has connotations, particularly in the world of politics, of bombast and the manipulation of emotions. For our purposes, it is the art of persuasion. Rhetoric can be seen as a tool we use when we wish to influence the thinking, and possibly actions, of our audience.
Arguments are the building blocks of rhetoric, and an enthymeme is a specific type of argument. In an enthymeme, not all foundations of the argument are spelled out. Rather, a worldview is evoked within which the argument makes sense. Put another way, something essential to understanding the argument is considered self-evident and is therefore not explicitly stated.
For example, consider the following train of thought: 1) A neighborhood is where like-minded people cluster together 2) Hipsters, as a group, are certainly like-minded 3) Hipsters like coffee, vintage clothing, and vinyl (stereotyping is all but assumed in many enthymemes) 4)Therefore, in a neighborhood that attracts hipsters you might expect to find coffee shops, an Urban Outfitters, and at least one record store. Assuming one knows what a “hipster” is—something which involves an understanding of modern society in general—one could remove the middle two steps and the argument would still make sense. “A neighborhood is where like-minded people cluster together” leads fairly naturally to “In a neighborhood that attracts hipsters you might expect to find coffee shops, etc.” This statement is an enthymeme—as much because it leaves out the middle two logical steps as because it assumes knowledge of both the definition and the connotations of the word “hipster.” Understanding the word, and making subsequent value judgments, is highly dependent upon cultural context. Thus, a presentation about the market niche filled by hipsters would make little sense, and would be uninteresting, to an audience that does not fall into particular social criteria. This is why an awareness of one’s audience is important in rhetorical discourse, particularly that which makes use of enthymemes.
In a presentation, especially one incorporating both visual and verbal aspects, using enthymemes is all about juxtaposition. Juxtaposition can take several forms:
-Repetition (the image adds emphasis to the words, or exemplifies a general concept)
-Symbolism (the image represents the words, in a more abstract way than repeating them)
-Analysis (the image reveals the logic that underlies the words)
-Irony (the words and image are juxtaposed in a surprising, counterintuitive way in order
to make a point)
Let’s turn to the presentation “Creativity as Commodity” to illustrate how some of these principles can be used to subtly influence an audience’s perceptions. It is important to understand that this presentation utilizes rhetoric relatively subtly—that its driving force is more of a “business” rhetoric than, say, a “political” rhetoric. The goal of “Creativity as Commodity” is to show why a certain group is a valuable target market. The argument, perhaps directed at advertisers or city planners, is that there is money to be made from targeting “The Creative Class” (many of whom are what we would colloquially call “hipsters”). It is not an argument that particularly tugs at the heartstrings; its lack of sentimentality is why I would consider it to use “business” rhetoric as opposed to “political.” However, it has the potential to be very persuasive, in a practical way, to a particular audience.
The arc that the presentation takes incorporates some irony. At a glance, it is apparent that I am poking fun at the Creative Class, especially by associating them with the word “hipster” with all its connotations. This eventually turns into more direct criticism of a societal trend, as I talk about the “real artists” being forced out of the “artsy” neighborhoods by rising real estate prices. However, the presentation ultimately reinforces a single point: that there is a distinct appeal of the lifestyle of the Creative Class, which is not going to go away anytime soon. Even though they are essentially an imitation of the “real thing” (i.e., real artists, bohemians, etc.), they are a growing, profitable market segment. By ironizing the Creative Class, this group’s value in the market becomes more memorable.
Now let’s look at two specific examples of rhetoric within “Creativity as Commodity.”
1) The rhetoric starts with the title slide, before I even say anything other than introductory remarks. The first juxtaposition we are presented with is that of the title and subtitle. The title--“Creativity as Commodity”--has its own connotations, and I believe it does two main things: a) It introduces the business aspect of the presentation through the use of the word “commodity” and b) it simultaneously evokes an initial value judgment by placing a word with these “right brained” connotations in conjunction with a word that is everything “left brained.” Should we sell creativity? The subtitle (“Marketing the New Cool”) hints at the answer--not from a moral, but certainly from a business standpoint. Companies that wish to be “on the cutting edge” would greatly benefit from acknowledging “creativity” as a “commodity” and “The Creative Class” as a target market.
The graphic design of the title slide further reinforces the message conveyed. The look is clean, professional, and modern. The distorted image of the Millenium Bridge--which will later come to be a recognizable symbol for the entire trend of the new urbanization and the formation of a Creative Class--may be hard to place. However, the geometry of the image contributes to the dynamic, twenty-first century appearance of the title slide, which then sets the “mood” of the presentation. To match the professionalism of the rest of the slide, “Hipsterdom” is depicted in the subtlest of ways. Later on, the hipster will be represented with more stereotypical images, perhaps verging on humorous; but here, all we see to symbolize this key group is a pendant with the iconic “hipster owl” and a vague suggestion that the person wearing the necklace is quite well-dressed. We do not see the woman’s face; after all, the presentation is not about her, it’s about the trend and demographic she represents.
2) Now let’s examine slide #11. This slide seeks to exemplify and lend a sense of place to a phenomenon (the “Indie” movement) that is otherwise a vague concept. The specific is more meaningful to an audience than the general. The goal of exemplification is introduced in the narration first: “This movement comes along with all sorts of characteristic sights and sounds. You have your traditional indie establishments: indie bookstores, record stores, art house cinema, smaller performance venues, (at least in Denver) independently run “medical” marijuana dispensaries, and of course coffee shops.” With each example, an image comes up. The resulting “collage” is given unity by the fact that every picture is of a recognizable independent establishment that would be known to anyone who has lived in Denver for any length of time (respectively, Tattered Cover, Twist & Shout, the Mayan, the Fillmore, Dr. Reefer, and Stella’s). These establishments, taken together, embody “indie” in a way that any one alone would not. The medical marijuana dispensary is ironically thrown into the list, by way of poking a little fun at our lovely and distinctive city. However, it is also a fact that many of the up-and-coming, hipster-populated neighborhoods have about one dispensary per block.
Conclusion: Attention to detail leads to effective presentations. Every element of the visual and the spoken components counts. Often, these components utilize enthymemes, and thus require a cultural context to be understood. Understanding “Creativity as Commodity” requires the cultural consciousness that comes along with a certain time and place. Juxtapositions within the presentation contextualize, exemplify, and evoke judgments. They also set a “mood” and a framework within which a certain rhetoric can be actualized.
Illustrative Example: “Creativity as Commodity: Marketing the New Cool,” a PowerPoint presentation (please download in PowerPoint; the formatting of the version on SlideShare is messed up). The slides shown are closely tied to the words spoken during the presentation. Please refer to the written script. Neither the rhetorical nor the informative functions can come through without both the verbal and the visual aspects.
Let’s begin by defining some terms that are central to this lesson. Rhetoric, in its most basic form, is the study of how to use language effectively. The term often has connotations, particularly in the world of politics, of bombast and the manipulation of emotions. For our purposes, it is the art of persuasion. Rhetoric can be seen as a tool we use when we wish to influence the thinking, and possibly actions, of our audience.
Arguments are the building blocks of rhetoric, and an enthymeme is a specific type of argument. In an enthymeme, not all foundations of the argument are spelled out. Rather, a worldview is evoked within which the argument makes sense. Put another way, something essential to understanding the argument is considered self-evident and is therefore not explicitly stated.
For example, consider the following train of thought: 1) A neighborhood is where like-minded people cluster together 2) Hipsters, as a group, are certainly like-minded 3) Hipsters like coffee, vintage clothing, and vinyl (stereotyping is all but assumed in many enthymemes) 4)Therefore, in a neighborhood that attracts hipsters you might expect to find coffee shops, an Urban Outfitters, and at least one record store. Assuming one knows what a “hipster” is—something which involves an understanding of modern society in general—one could remove the middle two steps and the argument would still make sense. “A neighborhood is where like-minded people cluster together” leads fairly naturally to “In a neighborhood that attracts hipsters you might expect to find coffee shops, etc.” This statement is an enthymeme—as much because it leaves out the middle two logical steps as because it assumes knowledge of both the definition and the connotations of the word “hipster.” Understanding the word, and making subsequent value judgments, is highly dependent upon cultural context. Thus, a presentation about the market niche filled by hipsters would make little sense, and would be uninteresting, to an audience that does not fall into particular social criteria. This is why an awareness of one’s audience is important in rhetorical discourse, particularly that which makes use of enthymemes.
In a presentation, especially one incorporating both visual and verbal aspects, using enthymemes is all about juxtaposition. Juxtaposition can take several forms:
-Repetition (the image adds emphasis to the words, or exemplifies a general concept)
-Symbolism (the image represents the words, in a more abstract way than repeating them)
-Analysis (the image reveals the logic that underlies the words)
-Irony (the words and image are juxtaposed in a surprising, counterintuitive way in order
to make a point)
Let’s turn to the presentation “Creativity as Commodity” to illustrate how some of these principles can be used to subtly influence an audience’s perceptions. It is important to understand that this presentation utilizes rhetoric relatively subtly—that its driving force is more of a “business” rhetoric than, say, a “political” rhetoric. The goal of “Creativity as Commodity” is to show why a certain group is a valuable target market. The argument, perhaps directed at advertisers or city planners, is that there is money to be made from targeting “The Creative Class” (many of whom are what we would colloquially call “hipsters”). It is not an argument that particularly tugs at the heartstrings; its lack of sentimentality is why I would consider it to use “business” rhetoric as opposed to “political.” However, it has the potential to be very persuasive, in a practical way, to a particular audience.
The arc that the presentation takes incorporates some irony. At a glance, it is apparent that I am poking fun at the Creative Class, especially by associating them with the word “hipster” with all its connotations. This eventually turns into more direct criticism of a societal trend, as I talk about the “real artists” being forced out of the “artsy” neighborhoods by rising real estate prices. However, the presentation ultimately reinforces a single point: that there is a distinct appeal of the lifestyle of the Creative Class, which is not going to go away anytime soon. Even though they are essentially an imitation of the “real thing” (i.e., real artists, bohemians, etc.), they are a growing, profitable market segment. By ironizing the Creative Class, this group’s value in the market becomes more memorable.
Now let’s look at two specific examples of rhetoric within “Creativity as Commodity.”
1) The rhetoric starts with the title slide, before I even say anything other than introductory remarks. The first juxtaposition we are presented with is that of the title and subtitle. The title--“Creativity as Commodity”--has its own connotations, and I believe it does two main things: a) It introduces the business aspect of the presentation through the use of the word “commodity” and b) it simultaneously evokes an initial value judgment by placing a word with these “right brained” connotations in conjunction with a word that is everything “left brained.” Should we sell creativity? The subtitle (“Marketing the New Cool”) hints at the answer--not from a moral, but certainly from a business standpoint. Companies that wish to be “on the cutting edge” would greatly benefit from acknowledging “creativity” as a “commodity” and “The Creative Class” as a target market.
The graphic design of the title slide further reinforces the message conveyed. The look is clean, professional, and modern. The distorted image of the Millenium Bridge--which will later come to be a recognizable symbol for the entire trend of the new urbanization and the formation of a Creative Class--may be hard to place. However, the geometry of the image contributes to the dynamic, twenty-first century appearance of the title slide, which then sets the “mood” of the presentation. To match the professionalism of the rest of the slide, “Hipsterdom” is depicted in the subtlest of ways. Later on, the hipster will be represented with more stereotypical images, perhaps verging on humorous; but here, all we see to symbolize this key group is a pendant with the iconic “hipster owl” and a vague suggestion that the person wearing the necklace is quite well-dressed. We do not see the woman’s face; after all, the presentation is not about her, it’s about the trend and demographic she represents.
2) Now let’s examine slide #11. This slide seeks to exemplify and lend a sense of place to a phenomenon (the “Indie” movement) that is otherwise a vague concept. The specific is more meaningful to an audience than the general. The goal of exemplification is introduced in the narration first: “This movement comes along with all sorts of characteristic sights and sounds. You have your traditional indie establishments: indie bookstores, record stores, art house cinema, smaller performance venues, (at least in Denver) independently run “medical” marijuana dispensaries, and of course coffee shops.” With each example, an image comes up. The resulting “collage” is given unity by the fact that every picture is of a recognizable independent establishment that would be known to anyone who has lived in Denver for any length of time (respectively, Tattered Cover, Twist & Shout, the Mayan, the Fillmore, Dr. Reefer, and Stella’s). These establishments, taken together, embody “indie” in a way that any one alone would not. The medical marijuana dispensary is ironically thrown into the list, by way of poking a little fun at our lovely and distinctive city. However, it is also a fact that many of the up-and-coming, hipster-populated neighborhoods have about one dispensary per block.
Conclusion: Attention to detail leads to effective presentations. Every element of the visual and the spoken components counts. Often, these components utilize enthymemes, and thus require a cultural context to be understood. Understanding “Creativity as Commodity” requires the cultural consciousness that comes along with a certain time and place. Juxtapositions within the presentation contextualize, exemplify, and evoke judgments. They also set a “mood” and a framework within which a certain rhetoric can be actualized.
1622 Emily Broadwell Composition 2
Creativity as commodity
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