Question 2
Rhetorical Velocity, Delivery, Appropriation, and
Recomposition
To start off
“Rhetorical velocity is a strategic concept of delivery in which a rhetor
theorizes the possibilities for the recomposition of a text (e.g., a media
release) based on how s/he anticipates how the text might later be used. (229)”
Basically this is when you take something which had different purposes and
intentions to start off and then it can be created into something totally
different. When it comes to Maggie we
see how she was involved in a protest for the WRC and how the pictures taken for
a particular cause and then used by Michigan for many different forms of
advertising. I found it really
interesting when the school took the picture and remixed it by cutting and
pasting her in front of a more recognizable landmark on campus. They used Maggie’s image, which had a purpose
at first then was used for different purposes by someone else without the original
permission.
With these
terms you can really grasp how one can take something and create something totally
different. You see how different forms
of delivery and appropriation achieve recomposistion. The term that stood out to me the most was
Rhetorical velocity. I was shocked
because I did not see how this is premeditated.
I think that this image was not specifically intended to be used in the
different formats but it happened the way it did. I do not think you can have a remix culture
without the use of all four of these terms.
You are able to see the intent of something in the original format and
then create something totally different with different delivery methods and
appropriation means. The case study with
Michigan really brings all this to life and gives us an idea and an
understanding of how this happens.
Thanks for making your synthesis of these concepts concrete and concise. My main contention is with rhetorical velocity as defined by Ridolfo, and not your application/understanding of it. I don't think many artists possess the means to anticipate the actions of persons they know little to nothing about. By that I mean, how can they predict the future contexts of their art? Maybe it could be the job of publicists, producers, marketing firms, curators, and/or publishers. The forethought required to implement rhetorical velocity necessitates a specialization which could include social sciences qualifications. It doesn't seem practical for artists to become preoccupied with this specialization, especially at the expensive of artistic inspiration. A new profession might develop to meet this exigence, or maybe a dying profession will be rejuvenated to fit this niche.
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