Rhetoric in design

Abstract Aristotle, the world’s illustrious genius is the one who discovered and put into perspective the three rhetoric devices namely ethos, pathos and logos. Rhetoric is credible art of making persuasive appeal to the potential audience through deliberate use of argumentative convincing language.Advertising We will write a custom essay sample on Rhetoric in design specifically for you for only $16.05 $11/page Learn More This essay puts in to perspective the use of rhetoric literal devices utilized in both verbal and written communication in contemporary art design work such as product design. The introductory section serves as the synopsis highlighting the key uses of the three elements of rhetoric. Further this paper will elaborately show the usage of these devices through pictorial examples appended on this paper. To wrap up, this paper will review why the rhetoric devices serve such a momentous role in the field of art and design. Introducti on Rhetoric brings out the oomph in a communication; it is the spice that seasons the words of a speaker enthralling the awaiting audience to yearn for more. As George categorically stated, rhetoric entombs the power of words, the energy in communication (1992, 1). The driving force behind the speaker’s words and the vigor remitted through is utterances in nutshell explain rhetoric. Evidently, rhetoric empowers speakers to prey at the credulity of the awaiting audience swaying them to the desired state. Kennedy summarily, states that the ethos of a speaker exudes the speaker’s character credibility, logos comprise of the persuasive evidence presented to the audience and then pathos carries with it the emotional appeal that arouses the audience to feel and grasp the sentiments of the information send forth. Dewey, adds into Kennedy’s perspective but takes it a notch higher by suggesting that rhetoric can be implemented in both language and design (1958, 46) Desig n comprises of wide range of products and artifacts, rhetoric can be utilized in both fine arts and in industrial production. In a close rejoinder, John continues to say that,’ when approaching design from a rhetorical perspective the hypothesis should be that all products are clear arguments about how we should lead our lives† (Lawson 2004, 56). Consequently, the potential buyers are likely to purchase products in accordance with the degree of persuasion. McKeon categorically stated that rhetoric is widespread device covering a wide scope of disciplines shared among myriad disciplines (1987, 186). Further, the author proceeds to say that rhetoric provides a conduit through which theoretical experiences are brought into solid practice (192). Buchanan states that â€Å"a statement that relates this to product design in that the designer’s work is to conceptualize and evaluate ideas, then make them tangible through products that are expected to have an appeal to t he final user† (1988, 12).Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More To sum up all these ideas, the new rhetoric of our modern days has become a cementing factor fusing words and things. A creative art becomes the most ideal podium through which modern rhetoric can be extravagantly exhibited. General overview of rhetoric and Rhetoric in design In a critical review Hauser extended the idea that rhetoric is a communication which endeavors to coordinate social action. (1986, 2) In other words, rhetoric has a sole goal of affecting and influencing the decision making capability of the human mind. Rhetoric swerves the normal human thinking agility persuading it to make choice in a specific premeditated manner. Rhetoric plays a significant role of creating a persuasive, instructive piece which veers the potential audience towards making a certain anticipated decision. Michael (1981, 45) qu oting Aristotle, also adds that rhetoric is â€Å"the ability, in each particular case, to see the available means of persuasion.† He then goes on to describe three main forms of rhetoric. ‘These are Ethos, Logos, and Pathos. What’s This? Richard (1998, 23-25) in order for rhetoric to take its root in the anticipated potential audience the person conveying the message should show integrity and should be a trustworthy source to the prospective audience. The credibility of a person is drawn from his proficiency and his past experiences; the person must have ethical appeal, should be humane and show consideration to the feelings of the potential audience. The logos facet of the rhetoric devises appeals to the logic and the common sense of the audience. The information provided should be backed up with solid evidence in order to appease the reasoning of the awaiting audience. Pathos, on the other hand has appeals on the emotional sentiments of the budding audience so that they not only use their logic but also their feelings in making decisions Michael (1981, 6), putting rhetoric devices in product designs states that ethos exude the touch of the designer bringing out the voice of the product. Logos persuades to the logic of the audience on the significance of design and pathos forms the personality of the manufacturer. A different way of looking at logos in product design is that they entomb the intelligence, the refined thinking and the summary of the message the designers sought to send across. The message garnered in a product is highlighted in a simplified and highly acceptable manner using a logo.Advertising We will write a custom essay sample on Rhetoric in design specifically for you for only $16.05 $11/page Learn More When the person manufacturing or designing a product appeals to the audience, through his credibility and acquired reputation; the element of pathos is keenly brought into use in this case. I n order for a designed product to be popular, people must be able to trust its manufacturer, the mode of its design and the reason for its usage. The three elements of rhetoric are thus brought into play. Designs in relation to the theory of rhetoric Gerard states that the rhetorical terms of logos, ethos and pathos can easily be mapped onto design in a straightforward way (1986, 9). The three elements compliment each other as they blend to exude a product that both appeals to the human senses and the logic. In the following cases, there are illustrative diagrams which highlight how the three elements of rhetoric namely ethos, logos and pathos come into interplay during product design. Ethos Conall (2007, 9), states, that, ethos of a designer can be considered to be his or her broad reputation and standing; this also applies to a particular company or brand reputation or credibility. Some designers and brands have a great deal of credibility with certain audiences to an extent that some names are household words and are popular world wide. This is influenced by the fact that the behavior of people is affected by certain brands which is the basic idea formulated by their manufacturers. They design their products in a special way that never fails to influence their thoughts and behavior on the brand in question. According to Conall (2007, 9), the brand speaks to the buyer who is finally persuaded to buy it due to its outstanding quality and practicability. Consumers also love to buy items that remind them of important events in their lives other than them meeting their needs. This is what brings out the mutual connection between design and rhetoric and this is further explained in the various inventions that come up everyday making design evolutional. For, example as stated by Nora (2009, 46), Scavolini brand, shown in the diagram below, ‘is a furniture company in Italy; the company that best succeeds in satisfying its consumer’s most varied and con crete demands in terms of styling, functionality, safety and durability’. It hence commands more credibility than most company’s in this area. This is evident from the number of loyal market it controls world wide. Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Fig1. (Sample ethos) The ultimate kitchen by scavolini 2009,1) Logos Buchanan (1998, 24), states that ‘people will usually evaluate a design before buying it; this means that consumers make comparison. In order for a brand to stand out, its design and the presentation should make a hard sell to the consumer even before they use it. Creative manufacturers then go a step further to create brand loyalty that appeals to a specific niche of the customers. The brand names, the color schemes and even the taglines used of products create the initial appeal on the customers impelling them to choose one product over the others. The various forms of communication and persuasion that lead to people being convinced that they want a particular product or a particular designer’s work constitute the logos,(Buchanan, 2001 ,24).The following is analysis of a sample logos by Capital Logo Design (2009): Figure2: Capital Logo Design (2009) A statement from Capital Logo Design (2009) states that this logo was designed for a Shell Oil wholesaler. In order to make sure that his customers gets to know from which company he obtains oil from, these client requested the Shell logo to be incorporated into the design. This is a clear way of how a logo tries to convince a customer about a particular product. Pathos According to Buchanan (1998, 25), pathos to a designer is incorporating features that appeal to specific groups of individuals. This is the susceptibility of the consumer to a certain product. Conall (2007, 16) states that, fashion victims epitomize this dimension of design. This means that those that are fashion-conscious have a list of â€Å"must-have† brands that depends on their design. The picture below tries to further explain what pathos is to a consumer: Figure3: ZilSOUND (2010, 24) By going through the features provided in the mobile phone brand above in the picture, people desiring to have the latest mobile phone or other could be swayed in to buyi ng it. Conall (2007, 16), ‘in his study suggest that, rhetoric is increasingly seen as a comprehensive tool for evaluation.’ This can hence give designers a means of dealing with consumer values and requirements. Conall (2007, 16), proceeds to say that, ‘the new Rhetoric as portrayed in design can facilitate areas of human activity which entail a synthesis of ideas and competing values in order to arrive at a best outcomes. Tancred (2004, 22), then adds that, â€Å"it has then been established that rhetoric is not concerned with any single delimited kind of subject but is like a language and a useful art†. Lawson continues to state that, â€Å"it is clear that its function is not persuasion but rather the detection of the persuasive aspects of each† (2004, 53). As Postman and Weingarten (1969, 23) have pointed out, Rhetoric is a form of communication, and the main purpose of communication is to affect the behaviour of others; design influences behavi or in a special way: In today’s consumer design the object must speak to the potential purchaser to persuade him or her to buy. Conclusion In order for the modern designers to retain their credibility in the highly competitive world mired with cutthroat competition; they must be able to renovate and change with times. The ability to adapt to changes, embracing new tactics and skills in the highly dynamic industrial world is the only way contemporary designers can survive and retain their relevance in the art and design field. Design is in itself evolutional and designers are faced with the task of being on their toes at all times in order to counter the changing demands that characterize the design industry. To achieve this, they must keep abreast with the newest trends in the market and carry out surveys on their clientele base to understand their needs. This way, they stand a better chance to give them practical designs which will also reflect their values. Ethos, pathos an d logos come in hardy to give a finishing touch to the art designs in order to give them the desired appeal. These principles make rhetoric a worthy and valuable skill that helps designers sway their audience who in return show loyalty by making these brands their preferred designs. Reference List Buchanan, Richard. 1998. â€Å"Branzi’s Dilemma: Design in Contemporary Culture Design.† Design Issues 14(1). Capital Logo Design.2009. â€Å"Logo design samples†. March 19. Web. Hauser, Gerard.1986. â€Å"Introduction to Rhetorical Theory†. June 14, http://science.jrank.org/pages/8057/Rhetoric.html#ixzz0yAa0B9 John, Dewey.1958. Art as an Experience. New York: Capricorn Books. Kennedy, George. 1992. â€Å"A Hoot in the Dark†. April 16. Web. Ó Cathà ¡in Conall. 2007. Is Design Research simply rhetoric? Design Studies. Belfast, N. Ireland: Queen’s University 3(3). Postman, Cannon Weingarten.1969.Teaching as a Subversive Activity. New York: Doub leday. Reed, Nora. (2009). â€Å"Online home furniture magazine†. 2 July. Web. Richard, McKeon. 1987. Essays in Invention and Discovery. Woodbridge CT: Ox Bow Press Shugrue, Michael. 1981. The art of rhetoric. Design and the New Pennsylvania State University: University Park, PA. Tancred, Lawson. 2004. The Art of Rhetoric: Translated with an Introduction and Notes. London: Penguin Books. ZilSOUND. 2010. â€Å"Mobile phone†. 25 Aug. Web. This essay on Rhetoric in design was written and submitted by user Peter Nixon to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Specific Gravity - Definition of Specific Gravity

Specific Gravity - Definition of Specific Gravity The specific gravity of a substance is the ratio of its density to a specified reference substance. This ratio is a pure number, containing no units. If the specific gravity ratio for a given substance is less than 1, that means the material will float in the reference substance. When the specific gravity ratio for a given material is greater than 1, that means the material will sink in the reference substance. This is related to the concept of buoyancy. The iceberg floats in the ocean (as in the picture) because its specific gravity in reference to the water is less than 1. This rising vs. sinking phenomenon is the reason that the term specific gravity is applied, although gravity itself plays no significant role in this process. Even in a substantially different gravitational field, the density relationships would be unchanged. For this reason, it would be far better to apply the term relative density between two substances, but for historical reasons, the term specific gravity has stuck around. Specific Gravity for Fluids For fluids, the reference substance is usually the water, with a density of  1.00 x 103 kg/m3  at 4 degrees Celsius (waters densest temperature), used to determine whether or not the fluid will sink or float in water. In homework, this is usually assumed to be the reference substance when working with liquids. Specific Gravity for Gases For gases, the reference substance is usually normal air at room temperature, which has a density of approximately 1.20 kg/m3. In homework, if the reference substance is not specified for a specific gravity problem, it is usually safe to assume that you are using this as your reference substance. Equations for Specific Gravity The specific gravity (SG) is a ratio of the density of the substance of interest (Ï i) to the density of the reference substance (Ï r). (Note: The Greek symbol rho, Ï , is commonly used to represent density.) That can be determined using the following formula: SG Ï i à · Ï r Ï i / Ï r Now, considering that the density is calculated from mass and volume through the equation Ï  m/V, this means that if you took two substances of the same volume, the SG could be rewritten as a ratio of their individual masses: SG Ï i / Ï rSG mi/V / mr/VSG mi / mr And, since the weight W mg, that leads to a formula written as a ratio of weights: SG mi / mrSG mig / mrgSG Wi / Wr It is important to remember that this equation only works with our earlier assumption that the volume of the two substances is equal, so when we talk about the weights of the two substances in this last equation, it is the weight of equal volumes of the two substances. So if we wanted to find out the specific gravity of ethanol to water, and we know the weight of one gallon of water, then we would need to know the weight of one gallon of ethanol to complete the calculation. Or, alternately, if we knew the specific gravity of ethanol to water, and knew the weight of one gallon of water, we could use this last formula to find the weight of one gallon of ethanol. (And, knowing that, we could use it to find the weight of another volume of ethanol by converting. These are the sorts of tricks that you may well find among homework problems that incorporate these concepts.) Applications of Specific Gravity Specific gravity is a concept that shows up in a variety of industrial applications, particularly as it relates to fluid dynamics. For example, if youve ever taken your car in for service and the mechanic showed you how small plastic balls floated in your transmission fluid, youve seen specific gravity in action. Depending on the specific application in question, those industries may use the concept with a different reference substance than water or air. The earlier assumptions applied only to homework. When you are working on a real project, you should know for sure what your specific gravity is in reference to, and shouldnt have to make assumptions about it.

How to French Interrogative Pronouns Qui and Que

How to French Interrogative Pronouns Qui and Que French has three interrogative pronouns: qui  que, and lequel, which are used to ask questions. They all have differences in meaning and usage. Note that lequel  is a more complicated case and, as such, is addressed separately. Also, while qui and que are also  relative pronouns,  we are only discussing them here in their function as interrogative pronouns. How to Use Qui   Qui  means  who  or  whom; it is used when asking about people. When  who  is the  subject  of the question, you can use either  qui  or  qui est-ce qui. The word order cannot be inverted, and the verb is always third person singular. Qui veut le faire  ? / Qui est-ce qui veut le faire  ?   Who wants to do it?Qui parle  ? / Qui est-ce qui parle  ?   Who is speaking? When whom is the object of the question, qui can be followed by either est-ce que or inversion, as in: Qui est-ce que vous aimez  ? / Qui aimez-vous ?   Whom do you love?Qui est-ce que tu vois  ? / Qui vois-tu  ?   Whom do you see? Qui can also follow a preposition. qui est-ce que tu parles  ? / qui parles-tu  ?   To whom are you speaking?De qui est-ce que tu dà ©pends  ? / De qui dà ©pends-tu  ?   Upon whom do you depend? How to Use Que Que means what and is used to refer to ideas or things. When  what  is the subject of the question, you must use  quest-ce qui  followed by a verb in the third person singular, with no inversion. Quest-ce qui se passe  ?   Whats happening?Quest-ce qui est tombà © sur la terre  ?   What fell on the ground? When what is the object of the question, it can be followed by est-ce que or inversion. Quest-ce quil veut  ? / Que veut-il  ?   What does he want?Quest-ce que tu penses de mon idà ©e  ? / Que penses-tu de mon idà ©e  ?   What do you think of my idea?Quest-ce que cest (que cela)  ?   What is that? Que to Quoi After a preposition, que changes to quoi. De quoi est-ce que vous parlez  ? / De quoi parlez-vous ?   What are you talking about? quoi est-ce quil travaille  ? / quoi travaille-t-il  ?   Whats he working on? More Examples of the Interrogative  Qui and Que Qui donc ta frappà ©Ã‚  ?   Who hit you? Qui est-ce qui en veut  ?   Who wants some ? Qui cherchez-vous  ?   Who are you looking for? Cest qui  ?  Ã‚  Whose is it,  to whom does it belong? qui le tour  ?   Whose turn (is it) ? De qui parles-tu  ?   Who  (ou  whom) are you talking about? Qui est-ce que tu connais ici  ?   Who do you know around here? qui est-ce que je dois de largent  ?   Who do I owe money to ?,  to whom do I owe money?  (soutenu) Quy a-t-il  ?   Whats the matter ? Que devient-elle  ?   Whats become of her? Quest-ce que je vois / jentends  ? What is this I see / hear ? Quest-ce qui tarrive  ?   Whats the matter with you? Quest-ce que la libertà ©Ã‚  ?   What is freedom? Summary of French Interrogative Pronouns Subject of question Object of question After preposition People quiqui est-ce qui quiqui est-ce que qui Things quest-ce qui quequest-ce que quoi

Criminal law Essay Example | Topics and Well Written Essays - 500 words

Criminal law - Essay Example Moreover, there are instances where the concept of crime within a particular country changes as society adapts to the tides of time. What used to be a crime yesterday is now legal today. A classic example for the changing concept of crime over a period of time is the case of defamation which had been decriminalized through the amendment to the Coroners and Justice Act in 2009 (OSCE). UK lawmakers have decided to relax the definition of crime insofar as defamation is concerned to make more room for the right to freedom of speech. This will remain true until the parliament decides to make further changes to the law on defamation. On the matter of relativity of crime in different jurisdictions, a good example would be possession of cannabis. There is no common consensus among the governments of the world as to the dangers and benefits of the plant and its derivatives. The countries that see more benefits have already legalized it, under certain conditions, while those who insist that ca nnabis does more harm than good continue to make its possession and use as a crime punishable with penalties ranging from light to life imprisonment and even death penalty. In the UK, possession and use of cannabis in any form is a crime but in Peru, it is perfectly legal.

Argument Essay Example | Topics and Well Written Essays - 750 words - 5

Argument - Essay Example Therein exists a dilemma; it is apparent that all we do is determined and controlled by the mind; however, it would require defining features of the psychological condition that are not explicable on the basis of the human physical operations. Descartes argues that the connection between mind and body is a wholly arbitrary without regard to the laws of physics; for instance he demonstrates that a particle striking another will move in a direction that is determined by the angle of the first particle. In contrary, in the human body, there is no connection between the physical sensations and the ensuing mental reaction; he argues that hunger pangs; for instance, have no direct connection to the reaction they provoke (Desire to eat) and can just as well produce a desire to sleep or drink (Descartes 54). In modern day, cognitive scientists are more than ever before curious about the engenderment of the human perception and thought process; unlike in the past, information process in the abstract are no longer seen as conclusive accounts of the mind. Scientists are concerned with the interactions of the body and the environment and how the relationship contributes in shaping human perception and the mind. Thinkers who support this school of thought postulate that by such examination, the Cartesian rift between the body and mind may be bridged so the material and immaterial aspect of human existence can be seen a unified whole. (Robinson). One of the areas expected to provide answers is the examination of non-reflexive actions which are not indication of an individual’s mentality and whose arbitrary connection is to the motor features of the action in question such as pressing a button. In dualism the mind and body are contrasted; however over the years of study different parts of the mind have been the focus of attention; for instance before Descartes in the mediaeval period the intellect was seen as the least likely to be affected by a

Communitarianism vs. Cosmopolitanism Essay -- Politics Political

Normative Theories of Politics - Contrasting Cosmopolitan and Communitarian Approaches When looking at normative theories of politics, the main distinction is between cosmopolitanism and communitarianism. In this essay the term community shall refer to political communities, or more specifically, states. It is important to note that these political communities have been defined territorially, and not necessarily by culture, although this is taken for granted to an extent by communitarianism. Communitarians say that each community is different, and therefore should act accordingly with each other. In other words, state autonomy should be absolute and law and moral standards should be self-determined by the community itself alone. Furthermore, communities should have no obligations to other political communities or any sort of international law. Contrastingly, Cosmopolitans say that there should be an overriding universal moral standard to which all states (or communities) should adhere. If a state is infringing on the rights of the individual or humanity, then intervent ion is appropriate and just. (Steve Smith, The Globalisation of World Politics: An Introduction to International Relations p. 173A) Communitarianism says that communities themselves define what rightful conduct is, and therefore should not be obliged to follow any universal moral code. Morality arises from the culture that makes up the community, and therefore determines what is right for that community, whether it is or not for anyone else. Communitarians say that there cannot be a universal moral standard because where would these standards come from? Who would decide what is right and wrong? However, the argument communitarianism can be turned against it if these communities are nation-states. It is only the predominant culture that will determine what the moral standards of the community are. Cosmopolitans argue that there should be a universal moral standard to which every community must abide. They allow for state autonomy, but only to an extent. States must not be able to be completely self-determined and free from moral obligations to the rest of the international community. But this raises significant qu estions. Can a universal moral standard exist? And how can it apply to all states? While cosmopolitanism allows for some state autonomy, the moral standard would mean that some ... ...t state autonomy cannot be restricted by anything but the community (state) itself. As one might assume, it follows from these differing standpoints that the way each theory view intervention, etc., will be in opposition. (Steve Smith, The Globalisation of World Politics: An Introduction to International Relations p. 173A) (Chris Brown, The Globalisation of World Politics: An Introduction to International Relations p. 480A) (Steve Smith, The Globalisation of World Politics: An Introduction to International Relations p. 173A) Cosmopolitanism and communitarianism differ vastly in the way they, as intellectual concepts, deal with international relations. Cosmopolitanism holds the view that the rights of humanity and the individual should override those of the state (or political community), whereas communitarianism is the opposite. It states that the rights of the community are more important than those of the state. It is because of these fundamental differences that they deal with international relations in significantly different ways. However, both theories have their flaws and it seems that we can have neither a fully cosmopolitan or communitarian world political system.

Growth In Population Essay

Delhi has been experiencing phenomenal growth in population in the last few decades. So, the number of vehicles has been increased to 40 lakhs, these are more than that of Mumbai, Kolkata and Chennai put together. Today traffic on the roads of Delhi is a mix-up of cycles, scooters, buses, cars and rickshaws, resulting fuel wastage, environmental pollution and increasing number of rod accidents. To rectify the situation the government of India and the Government of National Capital Territory of Delhi, in equal partnership have set up a company on 03.05.1995 named Delhi Metro Rail Corporation Ltd. (DMRC). This necessitates a policy shift to discourage private modes. So, introduction of a rail based (MRTS) Mass Rapid Transport System is called for. MRTS will result in time saving for commuters, reliable and safer journey, reduction in atmospheric pollution, reduction in accident rates, reduced fuel consumption, reduced vehicle operating costs and increase in the average speed of road vehicles. The proposed Mass Rapid Transport System (MRTS) is going to be one of the most eco friendly projects in Delhi. With international consultants Ms. PCI (Japan) is associated with DMRC which is, building MRTS aims at using the latest technical knowhow available in Metro systems worldwide. The general consultants consisting of (PCI-PBI-TON1 CHI-JARTS-RITES) is overseeing the construction management. The total .and requirement of the land for the construction is about 458,256 hectares. DMRC has two types of corridors, underground, partly elevated and partly on the ground, having a total length of 52.60 kms. Out of which 11 kms. is underground from Delhi University to Central Secretariat There are 41 stations on the entire corridors. There are three different routes of MRTS, Vishwavidyalaya-Central Secretariat, Shahdra – Barwala and Tri Nagar- Nagloi. There are certain other routes under consideration with the DMRC. The train will run on broad gauge. Number of passenger; using the service per day is estimated to be 19.5 lakhs. The train will run at a speed 30 kms per hour. The coaches will be 3.2 M wide. The maintenance depots for underground corridor are at Khyber Pass and Nagloi, for surface and elevated corridors at Trinagar and Barwala. The Chairman and Managing Director of the project are Sh. K. Kosal Ran and Sh. E. Sreedharan respectively. All the three corridors are scheduled to complete by March, 2005. The first phase of the project from Shahdra to Tis Hazari has already been inaugurated by Prime Minister of India, Sh. Atal Bihari Vajpayee The contract for the Metro Section between Central Secretarial to ISB’ has been awarded to consortium of five companies led by Ms Dyckrhoi & Widmann AG, Germany while section between Delhi University to ISBT has gone to a consortium led by Ms Kumagi (Japan). All contractors have Indian partners. At the underground corridor Metro Stations will be located 12.8 meters below ground level, except Chawri Bazar station which will be located at 20 meters below ground level. All the stations at every corridor will be air conditioned; interchanging of commuters between Metro Corridor and rail Corridor will be at ISBT station. The completion cost of the Delhi Metro Project is Rs. 8155/- crores.