WP2 :: Second Draft

Survival. Scientist Charles Darwin maintained, "It is not the strongest of the species that survives, nor the most intelligent that survives. It is the one that is the most adaptable to change." This statement is as true today as it was over a century ago. The need to survive is biologically programmed into our very being. In recent years, the concept of survival has taken on new meaning, as adapting to the rapid changes that accompany technological advances has become a type of survival onto itself. A number of devices can grant access to the World Wide Web, and attaining digital survival can be as easy as joining any number of social networking sites. These social networking websites, like Twitter and Facebook, allow users to make and manage connections among other users within an online community (Common Craft). According to a recent survey by Pew Internet, over 45% of American adults with internet access were members of some type of social networking community last year, compared to only 8% in 2005.

It would seem, however, that not everyone agrees with the cultural implications that this trend suggests. Some would question the importance, and even necessity, of survival in the digital realm. The above comic by cartoonist Doug Savage compares the necessity of physical survival to the emerging digital survival. The visual argument presented by this graphic requires viewers to consider if digital survival is as essential as physical survival? In attempting to answer this question, it is necessary to examine the rhetorical techniques employed by the author. Analyzing the graphic elements used in the composition and the choices made regarding text can help develop an understanding of the author's argument, while providing surprising insight into how technological adaptation has influenced our concept of survival.

When initially examining this comic, it is necessary to understand some basic conventions of reading comics in Western cultures. This comic consists of a single panel framed by a square-shaped border. Within this boundary the discourse takes place in two forms--graphically and textually. According to Compose, Design, Advocate (CDA), "our attentions are almost always first directed to the ... illustrations--and only then to words" ( 301). As we notice the illustrations, our eye is drawn to the right half of the panel. In this part of the panel there is a background, which contrasts with the right half. There seems to be more taking place in the left half of the panel, which immediately interests the reader. This deliberate arrangement is important to the overall construction of the comic, as it helps create a visual path that the reader follows. This path, called visual hierarchy, helps strengthen and order the overall structure, or logos, of the comic.

The graphical depiction of the two cartoon chickens that draw our attention next seems absurd. Chickens would never naturally appear in a situation similar to the one depicted here. Even though the characters are chickens, readers of this comic can relate because of the anthropomorphic characteristics they are given. The chickens' actions and mannerisms become believable because we assign meaning to them as we read and interpret the comic. As Scott McCloud explains in his essay The Vocabulary of Comics, humans have the ability to "see ourselves in everything ..." and also to "...assign identities and emotions where none exist" (204). We can see ourselves in the characters of this comic because we have bodies. This means that "our responses to ... illustrations depend[s] on our bodily and cultural experiences of the world" (CDA, 303).

After we accept that the chickens are capable of reacting in this situation, we can pay closer attention to their specific actions. The chicken on the left is postured with his beak open wide revealing his tongue, and his wings are held up in alarm perpendicular to the ground. When we observe the position of his body in reference to the leaping flames behind him, we can interpret this as a situation where alarm is warranted. He represents the immediate need for physical survival. His actions portray the "fight or flight" response that would be sensible in this situation. The chicken on the right is positioned in front of a computer screen with his wings on the keyboard. He is lacking the alarmed facial expression of his counterpart. He represents the need for digital survival. We are able to understand his desire to be connected through the internet, at least on some level, since over 74% of Americans are internet users (Internet World Stats). Because of this, the response of the chicken on the right can be justified. Since the actions of either chicken evoke some type of emotional response from the viewer, the author's decision appeals to pathos. As described in the CDA text, "we can feel similar emotions because we know he emotions ourselves" (274). We can relate to either character because of our own experience.

After noticing the characters of the comic strip, we notice the setting and other graphical components of the panel. The flames are in the background and appear to be moving from out of frame on the left side towards the right side. Both chickens are in the foreground, temporarily out of the reach of the flames. The chicken on the left, as previously discussed, is interacting with the setting and therefore concerned with this physical safety. Although the chicken on the right appears to be in increasing danger, his actions do not depict any level of concern with his physical well being. Instead, he focuses on updating his social network, emphasizing the importance of his digital survival. Does the lack of background mirror the lack of interaction with the physical world that digital survival requires? Not according to an article by Information Week, which identifies that internet use actually increases physical social connections. Indeed, the chicken on the right is aware of his physical well-being. He knows there is a fire, and has chosen to prolong his digital survival even in the face of a physical demise.

After examining graphical elements of the comic, we can now focus on the textual elements. Speech balloons appear above characters heads, and contain any "verbal" dialogue that takes place in the comic. There is a pointed extension coming from each balloon that shows what each character communicates. The typography, or the arrangement and style of the text, also affects how the message is interpreted. The bold weight of the words "FIRE!!! FIRE!!!" coming from the chicken on the left create a contrast from the words of the chicken on the right. There is also an emotional response, affecting pathos, which the typeface elicits. This choice of typeface provides a visual support of the importance of this chicken's message. Ultimately, the interaction between image and text is created to provide structure, or an appeal to logos, to the composition.

The abstract idea of chickens facing the dilemma of physical versus virtual survival is almost ludicrous, but this abstraction allows for what McCloud terms "amplification through simplification" (201). This means that the comic medium allows us to focus on specific ideas since we eliminate details during the process of cartooning. Here, the idea of survival is scaled down to a simple interpretation comparing the physical to digital. Cultural norms support this adaptation as well. Teenagers would rather compete in online gaming than exercise outside, college students jeopardize academic success by spending hours on Facebook, and office workers get into sticky situations when passing on juicy gossip through Twitter. These choices ensure digital survival while jeopardizing physical, or material, survival. The oversimplification adds humor, while forcing us to examine decisions we make daily that support this shift in priorities. This is survival of the fittest in the twenty-first century. Adapt or perish.

Works Cited

"Adults on Social Networking Sites, 2005-2009." Graph. Pew Internet and American Life Project. Accessed 9 Nov. 2009 from http://pewinternet.org/Infographics/Growth-in-Adult-SNS-Use-20052009.aspx.

"Charles Darwin." Wikipedia. Web. Accessed 9 Nov. 2009 from http://en.wikipedia.org/wiki/Charles_darwin.

Gonsalves, Antone . "Internet Use Increases Social Connectivity ." Information Week. 9 Nov. 2009. Web. Accessed 10 Nov. 2009 from http://www.informationweek.com/news/internet/social_network/showArticle.jhtml?articleID=221600719.

"Internet Footprint." Wikipedia. Web. Accessed 9 Nov. 2009 from http://en.wikipedia.org/wiki/Internet_footprint.

McCloud, Scott. "The Vocabulary of Comics." Print. Understanding Comics: The Invisible Art. Brattleboro: Harper Paperbacks, 1994.

"Social Networking in Plain English." Video. Common Craft. 2007. Accessed 9 Nov. 2009 from http://www.commoncraft.com/store-item/video-social-networking.

"United States Internet Usage Statistics." Internet Usage World Stats. Accessed 29 Oct. 2009, http://www.internetworldstats.com/am/us.htm.

"Visual Rhetoric/Visual Literacy: Writing About Comics and Graphic Novels." Print. Duke University Writing Studio. Accessed 9 Nov. 2009 from http://uwp.duke.edu/wstudio/.

Wysocki, Anne F., and Dennis A. Lynch. Compose, Design Advocate: A Rhetoric for Integrating Written, Visual, and Oral Communication. New York: Pearson Longman, 2007.

WP2 :: First Draft

Survival. As naturalist Charles Darwin described, "It is not the strongest of the species that survives, nor the most intelligent that survives. It is the one that is the most adaptable to change." This statement is as true today as it was over a century ago. The need to survive is biologically programmed into our very being. In recent years, the concept of survival has taken on new meaning, as adapting to the rapid changes that accompany technological advances has become a type of survival onto itself. In the virtual world, to which admission is possible using a device capable of accessing the World Wide Web, digital survival can be accomplished by developing a web presence by joining any number of social networking sites. Social networking allows users to make and manage connections within an online community (Common Craft). According to a recent survey by Pew Internet, it would appear that over 45% of American adults who have internet access are members of some social networking site. Not everyone agrees with the significance of this recent trend. Some would question the importance, and even necessity, of survival in the digital realm. The above comic by cartoonist Doug Savage compares traditional physical survival to the emerging digital survival. The visual argument presented by this graphic requires viewers to consider if digital survival is as necessary as physical survival?

When initially examining this comic, it is necessary to understand some basic conventions of reading comics in Western cultures. There is a single panel, which is the focal point framed by a square-shaped border. Within this boundary the discourse takes place in two forms--graphically and textually. According to Compose, Design, Advocate (CDA), "our attentions are almost always first directed to the ... illustrations--and only then to words" ( 301). The graphical depiction of two cartoon chickens that our eyes are drawn to seems humorous. Chickens would never naturally appear in a situation similar to the one depicted here. Even though the characters are chickens, readers of this comic can relate because of the anthropomorphic characteristics they are given. The chicken on the left represents the need for physical survival. He is postured with his beak open wide revealing his tongue, and his wings are held up in alarm perpendicular to the ground. When we combine the position of his body with the leaping flames behind him, we can interpret a situation where alarm is warranted. The chicken on the right represents the need for digital survival. He has been placed in front of a computer screen with his wings on the keyboard. We can relate to this desire to be connected through the internet, on some level at least, becuase over 74% of Americans use the internet (Internet World Stats). The simple situation depicted by the author is still familiar and pertinent, even when chickens are the characters.
The chickens' actions and mannerisms are familiar because we assign meaning to them as we read and interpret the comic. As Scott McCloud explains in his essay The Vocabulary of Comics, humans have the ability to "see ourselves in everything ..." and also to "...assign identities and emotions where none exist" (204). We can see ourselves in the characters of this comic because we have bodies. This means that "our responses to ... illustrations depend[s] on our bodily and cultural experiences of the world" (CDA, 303). The abstract idea of chickens facing the dilemma of physical versus virtual survival is almost ludicrous, but this abstraction allows for what McCloud terms "amplification through simplification" (201). This means that the medium of cartoon will allow us to focus on specific ideas since we eliminate others during the process of cartooning. The idea of survival is boiled down to the simplest form as two types of survival--physical and digital--are represented. After noticing the characters of the comic strip, we notice the setting and other components of the panel. There are flames in the background that appear to be moving right. There is also a table that houses a computer screen and keyboard, which one of the characters uses. Besides these meager props, there is no background. Does this lack of background mirror the lack of interaction with the physical world that digital survival requires? According to an article by Information Week, internet use actually increases (real) social connectivity.

After identifying graphical elements of the comic, we can now focus on the textual elements. Speech balloons appear above characters heads, and contain the "verbal" dialogue that is taking place in the comic. There is a pointed arrow coming from each balloon that shows which statement belongs to what character. The typography, or the arrangement and style of the text, also affects how the message is interpreted. The bold weight of the words "FIRE!!! FIRE!!!" coming from the chicken on the left create a contrast from the words of the chicken on the right. This choice of typeface provides a visual support of the importance of this chicken's message. Ultimately, the interaction between image and text is created to provide structure, or an appeal to logos, to the composition.

Works Cited

"Adults on Social Networking Sites, 2005-2009." Graph. Pew Internet and American Life Project. Accessed 9 Nov. 2009 from http://pewinternet.org/Infographics/Growth-in-Adult-SNS-Use-20052009.aspx.

"Charles Darwin." Wikipedia. Web. Accessed 9 Nov. 2009 from http://en.wikipedia.org/wiki/Charles_darwin.

Gonsalves, Antone . "Internet Use Increases Social Connectivity ." Information Week. 9 Nov. 2009. Web. Accessed 10 Nov. 2009 from http://www.informationweek.com/news/internet/social_network/showArticle.jhtml?articleID=221600719.

"Internet Footprint." Wikipedia. Web. Accessed 9 Nov. 2009 from http://en.wikipedia.org/wiki/Internet_footprint.

McCloud, Scott. "The Vocabulary of Comics." Print. Understanding Comics: The Invisible Art. Brattleboro: Harper Paperbacks, 1994.

"Social Networking in Plain English." Video. Common Craft. 2007. Accessed 9 Nov. 2009 from http://www.commoncraft.com/store-item/video-social-networking.

"United States Internet Usage Statistics." Internet Usage World Stats. Accessed 29 Oct. 2009, http://www.internetworldstats.com/am/us.htm.

"Visual Rhetoric/Visual Literacy: Writing About Comics and Graphic Novels." Print. Duke University Writing Studio. Accessed 9 Nov. 2009 from http://uwp.duke.edu/wstudio/.

Wysocki, Anne F., and Dennis A. Lynch. Compose, Design Advocate: A Rhetoric for Integreating Written, Visual, and Oral Communication. New York: Pearson Longman, 2007. Print.

WP2 :: Statement of Purpose

The use of the internet has become second nature to the majority of the population of the United States. The nature of this type of technology makes it necessary for internet users to constantly keep track of the newest innovations and changes made. In this the causal relationship between technology and culture is apparent; technology influences what is socially acceptable way to communicate. For example, writing letters and making personal visits was acceptable a century ago. Over a score ago, making phone calls was added to this list. Within the last few decades, however, the rules of acceptable communication have changed as email, text messaging, and now blogging, podcasting, Skype-ing, Facebooking, and twittering are all ways to potentially reach other. In this Savage Chickens comic, author Doug Savage is able to turn the lens on one of the newest changes--microblogging. Twitter is one such microblogging application that provides users with a seemingly simple way to communicate with others. By creating this brief comedic exchange, readers are forced to question whether the use of this type of technology to communicate is absurd or reasonable.

Because of these rate of changes made in regards to technology (and especially internet-based technologies), many users may feel isolated or lost. Indeed, it is difficult to keep track of the many internet memes, applications, updates, and fads the seem to come and go on an almost daily basis. Many readers of this comic strip will either align with one of two positions. Some will feel that the chicken that is stopping to "tweet" about the fire is foolish. They may or may not be familiar with the Twitter, or may not understand the uses of this service. They even may be hip to the use of Twitter and similar microblogging services, but be unsympathetic to why or how they are used. Other readers might still find the situation depicted in the comic humorous, but understand upon further analysis that sending digital updates to those who care to know isn't such an absurdity.

In reading this comic, it is helpful to have some conventions of reading in Western cultures, and some specific to reading and decoding comics. Since there is only one panel, it is not necessary to understand how panels interact with each other. It is necessary to know that the text found in the speech balloons above each characters head represents the dialogue from their conversation. It is also important to understand that even though the characters in this comic strip are chickens, the anthropomorphic qualities they are given allows them to act and behave as humans would. It is helpful to read from left to right, as is acceptable when reading the English language; observing the flames and the panicked chicken on the left sets the stage for the statement from the chicken at the computer on the right. It is also necessary to understand, generally, what a "tweet" is.

In the United States, most people are able to use technology to communicate with loved ones. Cell phones and internet-accessible computers have allowed the barriers that previously hindered communication--like time and distance--to be broken. Technology and culture influence each other, so it is only natural that humans have adapted technology to satisfy basic survival needs.

WP2 :: Research and Revisit

Humans have basic needs. When these needs are not met survival is difficult, if not impossible. There is an underlying need to survive that drives us all. The commodities necessary for survive are not limited to biological; research conducted in the fields of psychology corroborates this claim. Psychologist Abraham Maslow developed a hierarchy of needs that humans require for survival. Among the aforementioned physiological needs (food, water, shelter, etc.) is the need for security and the need for belonging.

Humans need to feel connected. Many of the technological advances have a secondary benefit that helps to satisfy this need. For example, as the telephone became more accessible, it allowed a vocal message to transcend enormous distances in less time than it took a handwritten letter. We were able to ask a friend, "What are you doing?" to gain information that created a connection to that person's daily life. Now that the internet is accessible, staying connected is even easier. Social networking websites allow users to make and manage connections in the digital realm. Twitter is one such site that allows users to create mini-blog posts that provide those connected to them with updates, answering the question "What are you doing?"

In the comic I chose for my rhetorical analysis, the artist is examining these basic needs through a humorous lens. The chicken on the left yells "FIRE!!! FIRE!!!" and appeals our basic need for safety. Upon initial inspection of this scene, it appears that the chicken on the right isn't concerned with survival, he wants to tweet about the fire before considering his escape. His concern with updating his social network seems absurd. There are many examples of the mini-blog updates being used for seemingly pointless reasons. The simplicity of the cartoon drawing allows this situation to be amplified and examined further (Scott McCloud). Upon further evaluation, it would seem that the actions of the chicken on the right appeal to our need to stay connected within a community context. Does the chicken's need to remain connected, even in the face of peril seem so foolish when viewed from this perspective? There are many real life examples of people sending tweets (mini-blog posts via Twitter.com) about life-threatening situations. How would the outcome of September 11, 2001 been different if passengers on the ill-fated flights could have sent some type of message to their loved ones and the world?

Even though the characters in the comic are chickens, the audience is able to relate because the of the anthropomorphic qualities attributed. For example, one of the chickens is using a computer, which is an activity shared by over 74% of the United States population (Internet World Stats). Although not nearly as much of the population uses Twitter to connect to loved ones, many more people are seeing what the fuss is about. Nielsen Media Research reported that Twitter boasted a 1382% rate of growth from February 2008 until February 2009 (CNET)! It would seem that this doesn't include teenagers, who only account for 11% of the total users of the microblogging service (NYTimes.com). Was the author aware of this demographic breakdown when he composed this comic? Did he consider that a large percentage of the population would view the chicken's actions as absurd and not look any further? Or did he realize that all humans need to be connection, and assume this need would win out over reason? What type of implication does this have on human connection in this digital age? Will it stop with Twitter? What will be the next way to keep tabs on friends, family, and strangers?

Works Cited

Boeree, George. "Abraham Maslow." My Webspace: Personality Theories. Accessed 28 Oct. 2009, http://webspace.ship.edu/cgboer/maslow.html.

"Maslow's Hierarchy of Needs." Wikipedia. Accessed 28 Oct. 2009, http://en.wikipedia.org/wiki/Maslow%27s_hierarchy_of_needs#Social_needs.

McCarthy, Caroline. "Nielsen: Twitter's growing really, really, really, really fast." CNET - Technology News. 19 Mar. 2009. Accessed 29 Oct. 2009, http://news.cnet.com/8301-13577_3-10200161-36.html.

McCloud, Scott. "The Vocabulary of Comics." Understanding Comics: The Invisible Art. Brattleboro: Harper Paperbacks, 1994.

Miller, Claire. "Who's Driving Twitters Popularity? Not Teenagers - NYTimes.com." The New York Times. 25 Aug. 2009. Accessed 29 Oct. 2009, http://www.nytimes.com/2009/08/26/technology/internet/26twitter.html.

"United States Internet Usage Statistics." Internet Usage World Stats. Accessed 29 Oct. 2009, http://www.internetworldstats.com/am/us.htm.

WP2 :: Cursory Analysis

Savage Chickens is a webcomic that I view daily. Each strip usually consists of one panel sketched onto a classic yellow sticky note, and scanned into the digital realm for legions of viewers to enjoy. In the strip, various chickens interact with other supporting characters (worms, robots, blocks of tofu) while providing commentary and humor on the inconsistencies of life, work, and internet memes. In this installment, a chicken is informed that there is a fire, evidence of which is presented in the form of flames licking at the heels of the informant. Before evacuating the premises, however, the chicken announces that he's "gotta tweet this."

In this simple interchange, cartoonist Doug Savage is able to capture the absurdity of our culture's constant need to stay connected. Social networking and blogging have become integrated into real life at an alarming rate, allowing the need to stay connected to transcend the physical world into the digital. Micro-blogging websites, like Twitter, allow this connectivity to occur in 140 characters or less. Even when faced with a situation like the being in a burning building, updates can be sent that will allow users to communicate.

There are several elements of this comic that make this composition effective. The interaction between the two characters is simple and easy to understand. The setting is established and character development takes place in the 3-inch square panel. The informant chicken is placed on the left side of the frame with his beak open wide to reveal his tongue (?), and his wings up in alarm held perpendicular to the ground. His visual posturing is coupled with leaping flames behind him, and both are indicative of alarm. This visual composition fits perfectly with the text, "FIRE!!! FIRE!!!" that appears in the speech balloon above him. The tweeting chicken is positioned on the right side of the panel. He is situated in front of a desktop computer, evidenced by the CRT monitor and connected keyboard. It would appear that he is seated since the top of his comb is lower than the informants; most users are seated when operating this type of computer. Only one of his wings is visible, and it is positioned above the keyboard. This posturing matches with the text, "Hold on I've gotta tweet this!" which appears in the speech balloon above him.

The comic is obvious hand drawn, but there are still stylistic choices the composer makes that allow the reader to examine typography of the composition. The weight of the informant's text is heavier than that of the tweeter, supporting the urgency of the situation. The composer employs the reader's understanding that a fire is a urgent situation that requires immediate action; there should not be time to "tweet" about it. The urgency of a fire transcends culture and time, evoking the basic human need of survival. It is not necessary for the reader to completely understand what Twitter is or how it works. Similarly, it is not necessary to analyze why the characters, who are both chickens, are speaking, or why they are in a building, or using the computer.