Chapter 2 Readings and resources
We won’t have many readings this semester, but I have compiled a few excerpts from longer works below.
2.1 From “The Rhetorical Situation” by Lloyd Bitzer (1968)
The study of rhetoric dates back thousands of years, predating even Socrates. Since then, countless scholars have tried to answer the question, "What makes discourse rhetorical?" Lloyd Bitzer offered one of the clearest answers to that question in 1968. Below is a collection of excerpts from his essay “The Rhetorical Situation”.
Rhetoric alters reality
In order to clarify rhetoric-as-essentially-related-to-situation, we should acknowledge a viewpoint that is commonplace but fundamental: a work of rhetoric is pragmatic; it comes into existence for the sake of something beyond itself; it functions ultimately to produce action or change in the world; it performs some task. In short, rhetoric is a mode of altering reality, not by the direct application of energy to objects, but by the creation of discourse which changes reality through the mediation of thought and action. The rhetor alters reality by bringing into existence a discourse of such a character that the audience, in thought and action, is so engaged that it becomes mediator of change. In this sense rhetoric is always persuasive.
The rhetorical situation
Let us now amplify the nature of situation by providing a formal definition and examining constituents. Rhetorical situation may be defined as a complex of persons, events, objects, and relations presenting an actual or potential exigence which can be completely or partially removed if discourse, introduced into the situation, can so constrain human decision or action as to bring about the significant modification of the exigence. Prior to the creation and presentation of discourse, there are three constituents of any rhetorical situation: the first is the exigence; the second and third are elements of the complex, namely the audience to be constrained in decision and action, and the constraints which influence the rhetor and can be brought to bear upon the audience. Any exigence is an imperfection marked by urgency; it is a defect, an obstacle, something waiting to be done, a thing which is other than it should be.
Exigence
In any rhetorical situation there will be at least one controlling exigence which functions as the organizing principle: it specifies the audience to be addressed and the change to be effected. The exigence may or may not be perceived clearly by the rhetor or other persons in the situation; it may be strong or weak depending upon the clarity of their perception and the degree of their interest in it; it may be real or unreal depending on the facts of the case; it may be important or trivial; it may be such that discourse can completely remove it, or it may persist in spite of repeated modifications; it may be completely familiar - one of a type of exigences occurring frequently in our experience - or it may be totally new, unique. When it is perceived and when it is strong and important, then it constrains the thought and action of the perceiver who may respond rhetorically if he is in a position to do so.
Audience
The second constituent is the audience. Since rhetorical discourse produces change by influencing the decision and action of persons who function as mediators of change, it follows that rhetoric always requires an audience - even in those cases when a person engages himself or ideal mind as audience. It is clear also that a rhetorical audience must be distinguished from a body of mere hearers or readers: properly speaking, a rhetorical audience consists only of those persons who are capable of being influenced by discourse and of being mediators of change.
Constraints
Besides exigence and audience, every rhetorical situation contains a set of constraints made up of persons, events, objects, and relations which are parts of the situation because they have the power to constrain decision and action needed to modify the exigence. Standard sources of constraint include beliefs, attitudes, documents, facts, traditions, images, interests, motives and the like; and when the orator enters the situation, his discourse not only harnesses constraints given by situation but provides additional important constraints - for example his personal character, his logical proofs, and his style. There are two main classes of constraints: (1) those originated or managed by the rhetor and his method (Aristotle called these “artistic proofs”), and (2) those other constraints, in the situation, which may be operative (Aristotle’s “inartistic proofs”).
2.2 From “As We May Think” by Vannevar Bush (1945)
Vannevar Bush played a key role in military research and development during WWII, including the development of the atomic bomb. He also kind of invented the concept of the hyperlink decades before personal computing and the web became realities. (He even predicted we would all walk around with our own personal cameras–not in our pockets, but on our heads!)
In the excerpt from “As We May Think” (1945) below, Bush outlines his vision for a personal computer containing vast amounts of information.
Pay special attention to his thoughts on mental association and trails, as these concepts can teach us a ton about writing in and for digital media. Consider how you can use the ideas of the “associative web” and the link to help your audience (a) find your work and (b) change the way they think, feel, and/or act?
The human mind and association
The real heart of the matter of selection, however, goes deeper than a lag in the adoption of mechanisms by libraries, or a lack of development of devices for their use. Our ineptitude in getting at the record is largely caused by the artificiality of systems of indexing. When data of any sort are placed in storage, they are filed alphabetically or numerically, and information is found (when it is) by tracing it down from subclass to subclass. It can be in only one place, unless duplicates are used; one has to have rules as to which path will locate it, and the rules are cumbersome. Having found one item, moreover, one has to emerge from the system and re-enter on a new path.
The human mind does not work that way. It operates by association. With one item in its grasp, it snaps instantly to the next that is suggested by the association of thoughts, in accordance with some intricate web of trails carried by the cells of the brain. It has other characteristics, of course; trails that are not frequently followed are prone to fade, items are not fully permanent, memory is transitory. Yet the speed of action, the intricacy of trails, the detail of mental pictures, is awe-inspiring beyond all else in nature.
Man cannot hope fully to duplicate this mental process artificially, but he certainly ought to be able to learn from it. In minor ways he may even improve, for his records have relative permanency. The first idea, however, to be drawn from the analogy concerns selection. Selection by association, rather than indexing, may yet be mechanized. One cannot hope thus to equal the speed and flexibility with which the mind follows an associative trail, but it should be possible to beat the mind decisively in regard to the permanence and clarity of the items resurrected from storage.
The memex machine
Consider a future device for individual use, which is a sort of mechanized private file and library. It needs a name, and, to coin one at random, “memex” will do. A memex is a device in which an individual stores all his books, records, and communications, and which is mechanized so that it may be consulted with exceeding speed and flexibility. It is an enlarged intimate supplement to his memory.
Memex machine
It consists of a desk, and while it can presumably be operated from a distance, it is primarily the piece of furniture at which he works. On the top are slanting translucent screens, on which material can be projected for convenient reading. There is a keyboard, and sets of buttons and levers. Otherwise it looks like an ordinary desk.
In one end is the stored material. The matter of bulk is well taken care of by improved microfilm. Only a small part of the interior of the memex is devoted to storage, the rest to mechanism. Yet if the user inserted 5000 pages of material a day it would take him hundreds of years to fill the repository, so he can be profligate and enter material freely.
Most of the memex contents are purchased on microfilm ready for insertion. Books of all sorts, pictures, current periodicals, newspapers, are thus obtained and dropped into place. Business correspondence takes the same path. And there is provision for direct entry. On the top of the memex is a transparent platen. On this are placed longhand notes, photographs, memoranda, all sorts of things. When one is in place, the depression of a lever causes it to be photographed onto the next blank space in a section of the memex film, dry photography being employed.
There is, of course, provision for consultation of the record by the usual scheme of indexing. If the user wishes to consult a certain book, he taps its code on the keyboard, and the title page of the book promptly appears before him, projected onto one of his viewing positions.
Frequently-used codes are mnemonic, so that he seldom consults his code book; but when he does, a single tap of a key projects it for his use. Moreover, he has supplemental levers. On deflecting one of these levers to the right he runs through the book before him, each page in turn being projected at a speed which just allows a recognizing glance at each. If he deflects it further to the right, he steps through the book 10 pages at a time; still further at 100 pages at a time. Deflection to the left gives him the same control backwards.
A special button transfers him immediately to the first page of the index. Any given book of his library can thus be called up and consulted with far greater facility than if it were taken from a shelf. As he has several projection positions, he can leave one item in position while he calls up another. He can add marginal notes and comments, taking advantage of one possible type of dry photography, and it could even be arranged so that he can do this by a stylus scheme, such as is now employed in the telautograph seen in railroad waiting rooms, just as though he had the physical page before him.
Associative indexing
All this is conventional, except for the projection forward of present-day mechanisms and gadgetry. It affords an immediate step, however, to associative indexing, the basic idea of which is a provision whereby any item may be caused at will to select immediately and automatically another. This is the essential feature of the memex. The process of tying two items together is the important thing.
When the user is building a trail, he names it, inserts the name in his code book, and taps it out on his keyboard. Before him are the two items to be joined, projected onto adjacent viewing positions. At the bottom of each there are a number of blank code spaces, and a pointer is set to indicate one of these on each item. The user taps a single key, and the items are permanently joined. In each code space appears the code word. Out of view, but also in the code space, is inserted a set of dots for photocell viewing; and on each item these dots by their positions designate the index number of the other item.
Thereafter, at any time, when one of these items is in view, the other can be instantly recalled merely by tapping a button below the corresponding code space. Moreover, when numerous items have been thus joined together to form a trail, they can be reviewed in turn, rapidly or slowly, by deflecting a lever like that used for turning the pages of a book. It is exactly as though the physical items had been gathered together from widely separated sources and bound together to form a new book. It is more than this, for any item can be joined into numerous trails.
The owner of the memex, let us say, is interested in the origin and properties of the bow and arrow. Specifically he is studying why the short Turkish bow was apparently superior to the English long bow in the skirmishes of the Crusades. He has dozens of possibly pertinent books and articles in his memex. First he runs through an encyclopedia, finds an interesting but sketchy article, leaves it projected. Next, in a history, he finds another pertinent item, and ties the two together. Thus he goes, building a trail of many items. Occasionally he inserts a comment of his own, either linking it into the main trail or joining it by a side trail to a particular item. When it becomes evident that the elastic properties of available materials had a great deal to do with the bow, he branches off on a side trail which takes him through textbooks on elasticity and tables of physical constants. He inserts a page of longhand analysis of his own. Thus he builds a trail of his interest through the maze of materials available to him.
And his trails do not fade. Several years later, his talk with a friend turns to the queer ways in which a people resist innovations, even of vital interest. He has an example, in the fact that the outraged Europeans still failed to adopt the Turkish bow. In fact he has a trail on it. A touch brings up the code book. Tapping a few keys projects the head of the trail. A lever runs through it at will, stopping at interesting items, going off on side excursions. It is an interesting trail, pertinent to the discussion. So he sets a reproducer in action, photographs the whole trail out, and passes it to his friend for insertion in his own memex, there to be linked into the more general trail.
Wholly new forms
Wholly new forms of encyclopedias will appear, ready made with a mesh of associative trails running through them, ready to be dropped into the memex and there amplified. The lawyer has at his touch the associated opinions and decisions of his whole experience, and of the experience of friends and authorities. The patent attorney has on call the millions of issued patents, with familiar trails to every point of his client’s interest. The physician, puzzled by a patient’s reactions, strikes the trail established in studying an earlier similar case, and runs rapidly through analogous case histories, with side references to the classics for the pertinent anatomy and histology. The chemist, struggling with the synthesis of an organic compound, has all the chemical literature before him in his laboratory, with trails following the analogies of compounds, and side trails to their physical and chemical behavior.
2.3 How Google search works
Vannevar Bush dreamed of a “mesh of associative trails” and of “associative indexing” that would help users navigate information structures. That mesh is now a web–the web. Sergey Brin and Larry Page indexed that web when they created Google. They weren’t the first to index the web, but they did conceive an algorithm that provided better results than any other search engine.
The video and reading below should help you understand why links are so crucial to any web content creator. The video comes from Google’s How Search Works page, while the reading comes from The Anatomy of a Large-Scale Hypertextual Web Search Engine, a paper Brin and Page wrote as Stanford graduate students.
How search works
Pay special attention to the importance of Google’s “PageRank” formula at about 1:30.
From “The Anatomy of a Large-Scale Hypertextual Web Search Engine” by Sergey Brin and Lawrence Page (1998)
The Google search engine has two important features that help it produce high precision results. First, it makes use of the link structure of the Web to calculate a quality ranking for each web page. This ranking is called PageRank and is described in detail in [Page 98]. Second, Google utilizes link to improve search results.
PageRank: Bringing Order to the Web
The citation (link) graph of the web is an important resource that has largely gone unused in existing web search engines. We have created maps containing as many as 518 million of these hyperlinks, a significant sample of the total. These maps allow rapid calculation of a web page’s “PageRank”, an objective measure of its citation importance that corresponds well with people’s subjective idea of importance. Because of this correspondence, PageRank is an excellent way to prioritize the results of web keyword searches. For most popular subjects, a simple text matching search that is restricted to web page titles performs admirably when PageRank prioritizes the results (demo available at google.stanford.edu). For the type of full text searches in the main Google system, PageRank also helps a great deal.
Description of PageRank Calculation
Academic citation literature has been applied to the web, largely by counting citations or backlinks to a given page. This gives some approximation of a page’s importance or quality. PageRank extends this idea by not counting links from all pages equally, and by normalizing by the number of links on a page. PageRank is defined as follows:
We assume page A has pages T1…Tn which point to it (i.e., are citations). The parameter d is a damping factor which can be set between 0 and 1. We usually set d to 0.85. There are more details about d in the next section. Also C(A) is defined as the number of links going out of page A. The PageRank of a page A is given as follows:
PR(A) = (1-d) + d (PR(T1)/C(T1) + … + PR(Tn)/C(Tn))
Note that the PageRanks form a probability distribution over web pages, so the sum of all web pages’ PageRanks will be one.
Intuitive Justification
PageRank can be thought of as a model of user behavior. We assume there is a “random surfer” who is given a web page at random and keeps clicking on links, never hitting “back” but eventually gets bored and starts on another random page. The probability that the random surfer visits a page is its PageRank. And, the d damping factor is the probability at each page the “random surfer” will get bored and request another random page. One important variation is to only add the damping factor d to a single page, or a group of pages. This allows for personalization and can make it nearly impossible to deliberately mislead the system in order to get a higher ranking. We have several other extensions to PageRank, again see [Page 98].
Another intuitive justification is that a page can have a high PageRank if there are many pages that point to it, or if there are some pages that point to it and have a high PageRank. Intuitively, pages that are well cited from many places around the web are worth looking at. Also, pages that have perhaps only one citation from something like the Yahoo! homepage are also generally worth looking at. If a page was not high quality, or was a broken link, it is quite likely that Yahoo’s homepage would not link to it. PageRank handles both these cases and everything in between by recursively propagating weights through the link structure of the web.
Anchor Text
The text of links is treated in a special way in our search engine. Most search engines associate the text of a link with the page that the link is on. In addition, we associate it with the page the link points to. This has several advantages. First, anchors often provide more accurate descriptions of web pages than the pages themselves. Second, anchors may exist for documents which cannot be indexed by a text-based search engine, such as images, programs, and databases. This makes it possible to return web pages which have not actually been crawled. Note that pages that have not been crawled can cause problems, since they are never checked for validity before being returned to the user. In this case, the search engine can even return a page that never actually existed, but had hyperlinks pointing to it. However, it is possible to sort the results, so that this particular problem rarely happens.
This idea of propagating anchor text to the page it refers to was implemented in the World Wide Web Worm [McBryan 94] especially because it helps search non-text information, and expands the search coverage with fewer downloaded documents. We use anchor propagation mostly because anchor text can help provide better quality results. Using anchor text efficiently is technically difficult because of the large amounts of data which must be processed. In our current crawl of 24 million pages, we had over 259 million anchors which we indexed.
Other Features
Aside from PageRank and the use of anchor text, Google has several other features. First, it has location information for all hits and so it makes extensive use of proximity in search. Second, Google keeps track of some visual presentation details such as font size of words. Words in a larger or bolder font are weighted higher than other words. Third, full raw HTML of pages is available in a repository.
2.4 Dark Patterns
Dark patterns are design strategies used by content developers to trick you into taking some action you wouldn’t otherwise take. You have certainly encountered dark patterns before, but you (a) may not have recognized them as manipulative or (b) may not have realized that these patterns are indeed patterns–once you recognize them, you’ll see variations all over the web.
Check out the video below and then visit the Dark Patterns website.
2.5 Buzzfeed’s formula
This article is from 2014, which is in some respects a long time ago. But the core insights of Buzzfeed’s video formula, excerpted below, will still resonate with most anyone who has ever blown a couple hours taking Buzzfeed quizzes.
Of particular note are Buzzfeed’s “pillars of content”: “emotional gift,” “information,” and “identity.” These pillars ensure that Buzzfeed creates not just consumable content, but sharable content.
Buzzfeed content categories
Emotional Gift: This type of content taps into the vast range of human emotions. A BuzzFeed video should be able to change your mood from a sad to a happy one, it should be able to relieve stress, and give the viewer respite from upsetting personal, or even world events. The whole point of the video content is to make the viewer feel something – if they feel it, they will share it.
Information: Can you present information in a new, interesting way? Never underestimate the power of the humble brag – give the viewer the impression that they were aware of most of the facts, but were genuinely happy to learn a couple more. Also, great informational videos can help prove or disprove an argument, and that makes them fantastically shareable.
Identity: This is huge, and demonstrated by just how popular the BuzzFeed quizzes are. People want to to be identified as something, to belong to a group, and taking the BuzzFeed quizzes is one way of confirming where they belong. Or not, in some cases. But it’s all good because it all leads to that content being shared.
2.6 From “The Medium Is the Message” By Marshall McLuhan (1964)
The following excerpt represents the first couple pages of media scholar Marshall McLuhan’s landmark book Understanding Media. If you wish, you can also read a longer excerpt or check out a short video explanation narrated by Gillian Anderson, TV’s own Agent Scully.
In a culture like ours, long accustomed to splitting and dividing all things as a means of control, it is sometimes a bit of a shock to be reminded that, in operational and practical fact, the medium is the message. This is merely to say that the personal and social consequences of any medium–that is, of any extension of ourselves–result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology. Thus, with automation, for example, the new patterns of human association tend to eliminate jobs it is true. That is the negative result. Positively, automation creates roles for people, which is to say depth of involvement in their work and human association that our preceding mechanical technology had destroyed. Many people would be disposed to say that it was not the machine, but what one did with the machine, that was its meaning or message. In terms of the ways in which the machine altered our relations to one another and to ourselves, it mattered not in the least whether it turned out cornflakes or Cadillacs. The restructuring of human work and association was shaped by the technique of fragmentation that is the essence of machine technology. The essence of automation technology is the opposite. It is integral and decentralist in depth, just as the machine was fragmentary, centralist, and superficial in its patterning of human relationships.
The instance of the electric light may prove illuminating in this connection. The electric light is pure information. It is a medium without a message, as it were, unless it is used to spell out some verbal ad or name. This fact, characteristic of all media, means that the “content” of any medium is always another medium. The content of writing is speech, just as the written word is the content of print, and print is the content of the telegraph. If it is asked, “What is the content of speech?,” it is necessary to say, “It is an actual process of thought, which is in itself nonverbal.” An abstract painting represents direct manifestation of creative thought processes as they might appear in computer designs. What we are considering here, however, are the psychic and social consequences of the designs or patterns as they amplify or accelerate existing processes. For the “message” of any medium or technology is the change of scale or pace or pattern that it introduces into human affairs. The railway did not introduce movement or transportation or wheel or road into human society, but it accelerated and enlarged the scale of previous human functions, creating totally new kinds of cities and new kinds of work and leisure. This happened whether the railway functioned in a tropical or a northern environment, and is quite independent of the freight or content of the railway medium. The airplane, on the other hand, by accelerating the rate of transportation, tends to dissolve the railway form of city, politics, and association, quite independently of what the airplane is used for.
Let us return to the electric light. Whether the light is being used for brain surgery or night baseball is a matter of indifference. It could be argued that these activities are in some way the “content” of the electric light, since they could not exist without the electric light. This fact merely underlines the point that “the medium is the message” because it is the medium that shapes and controls the scale and form of human association and action. The content or uses of such media are as diverse as they are ineffectual in shaping the form of human association. Indeed, it is only too typical that the “content” of any medium blinds us to the character of the medium. It is only today that industries have become aware of the various kinds of business in which they are engaged. When IBM discovered that it was not in the business of making office equipment or business machines, but that it was in the business of processing information, then it began to navigate with clear vision. The General Electric Company makes a considerable portion of its profits from electric light bulbs and lighting systems. It has not yet discovered that, quite as much as A.T.&T., it is in the business of moving information.
The electric light escapes attention as a communication medium just because it has no “content.” And this makes it an invaluable instance of how people fail to study media at all.
For it is not till the electric light is used to spell out some brand name that it is noticed as a medium. Then it is not the light but the “content” (or what is really another medium) that is noticed. The message of the electric light is like the message of electric power in industry, totally radical, pervasive, and decentralized. For electric light and power are separate from their uses, yet they eliminate time and space factors in human association exactly as do radio, telegraph, telephone, and TV, creating involvement in depth.
A fairly complete handbook for studying the extensions of man could be made up from selections from Shakespeare. Some might quibble about whether or not he was referring to TV in these familiar lines from Romeo and Juliet:
But soft! what light through yonder window breaks?
It speaks, and yet says nothing.