Rhetorical Velocity and its Impact on Genres

2. The terms "rhetorical velocity", "delivery", "appropriation", and "recomposition"  described in the article by Ridolfo and Rife are all connected under the culture and act of remix, however they do differ in their definitions and relationships. The term "rhetorical velocity" is the umbrella under which the other three terms reside. Rhetorical velocity takes into account all possible methods that the text may be reused in the future. The term "delivery" describes the method, media, and vehicle that the text or remixed text is distributed to the mass audience with. Rhetorical velocity takes into account any future developments in delivery and anticipates them in the creation and structure of the text. "Appropriation" deals with the adapting and modification of the text for the new genre. Such changes made during appropriation may involve placing the sampled text into a different context to give new meaning to an audience and may also make it impossible for the audience to tell the original context. Finally, recomposition deals with the structuring and placement of the remixed text and the creation of the new text with it. In Ridolfo and Rife's case study, the biggest issue dealt with was appropriation. Maggie, the MSU student depicted on the school website, was upset at the modifications made to her context from the original picture. Appropriation is often criticized for being biased and can be seen by some as a form of oppression.
    Miller's view of genre would most likely be associated with the term rhetorical velocity. Miller's focus on genre was that new creations determine a new genre. By anticipating future use of current genres, artists can look ahead to seeing their work impact, influence, and even create new genres themselves. Remixing in music has gone from being a way to structure a new song to being an entirely new genre itself, with artists like Girl Talk, Danger Mouse, and Super Mash Bros.