WP3: Final Draft

Authors Note:

This was a particularly unique assignment as it was rhetorically multidimensional. Besides simply thinking about the various elements involved when writing a rhetorical analysis, I also had to keep in mind that this was in the form of a letter that would ultimately be performed in front of an audience. This became important, as I had to specifically keep in mind my primary audience: the inanimate sculpture, as well as the secondary audience: my classmates, teacher, and other observers. In addition, I composed the letter to have a certain rhythm or feel when spoken aloud. Underlying each of these aspects, I utilized many of the rhetorical concepts learned previously in this class to form the content of the letter.

In looking rhetorically at Variable Wedge, I realize that each viewer perceives a slightly different argument from the sculpture, as it is subjective in nature. In this manner, I wanted to identify many of the main features embodied in the sculpture, which every observer would notice, and then depict why they are significant both to the piece and to me (when applicable). Furthermore, as I will be presenting this to an audience, I also employed the use of stepping-stones as an organizational device. When viewed from the West, the tops of the seven sections of the sculpture look like stepping stones progressing their way upward. Since this had a significant impact on how I viewed the piece, I felt it was fitting to use it as an organizational tool.

The general elements that I then incorporated into this seven-point argument include the form, materials, color, conflict and resolution of pattern, negative space, as well as environment (context) of the sculpture. I felt that these were important aspects to the overall design, and using logos/pathos, I described how they influenced my thought. In addition, there were several themes that I focused on throughout these seven points, the first of which centered around the second half of the sculpture’s title: a wedge. As humans, we have a tendency to see ourselves in other objects, and besides inventing the wedge as a tool, it encompasses many of our natural tendencies. As mentioned earlier, a wedge progresses through time, tapering or growing. Thus, I discussed through pathos and logos how we as humans relate to this wedge, via its general form, evolving materials, as well as progression of color.

The second major theme that is mentioned throughout the letter is that of variability. Being the other half of the sculpture’s title, this word signifies change and fluctuation, both of which are abundant throughout the sculpture. Found in the fluctuation of Variable’s form, materials, as well as environment, change is something that people relate to. Essentially, life is a series of changes over time. Whether these shifts are drastic or insignificant determine how we view them, which is similar to Variable’s changes as well. Together, the form and variability of the sculpture provide what is so unique about it: thus this is what I attempted to portray.

First Draft

Final Draft:

Dear Variable Wedge,

You change, shift, and fluctuate through the passing of time. Commencing on a linear path, your form growing all the while, you reach out toward the sky. On this series of steps, I hop into the abyss. While many simplify you into a simple tool: one of six elementary instruments conceived by man, in my eyes you serve a greater purpose. You hold, split, and lift time, all in the same moment, allowing me to view the depths of my life. Then, when it appears that I have figured you out, you vary yet again, showing me something new. Angle after angle, your panoramic nature brings new insight to my soul.

As with stepping-stones, you appear in a series of levels, each revealing bits of your character. As your first step, I notice your form: a wedge. Your positive mass takes up a slice of space in the continuous circle of time. Geometric and progressive, the fingerprint of mankind no doubt marks you. He has left you inorganic, in the shape of a tool. But perhaps you have left your mark on him as well. For, this evolution of a trapezoid reminds me of someone close, someone dear. At one point, a younger me, but upon further reflection, maybe my older self. At last, like your steps, I see continuous growth. Not only this, but a divergence from your initial path marks your maturation. Wandering left and then right, you are like my dreams: changing, shifting, fluctuating.

Evolving also are the materials you are made from. As a second stepping-stone, one observes your corten steel skin, which appears rigid yet vulnerable to the elements. Or is it? One may assume that you will eventually deteriorate into nothing as your surface rusts over time. Little do they know, however, that this process will only serve to strengthen you more. Your layer of rust becomes a skin of protection, chemically stable with the environment. It’s almost as if you wish to mirror our hearts and bodies. Appearing as hindrances, broken bones and wounds only serve to make us stronger.

This brings me to your third stepping-stone, Variable Wedge: I can see your hues of experience progressing through the years. Visible but not overwhelming, these colors exist. Blue then violet. Red then yellow. As they progress, they become lighter in value. But does this build upon your previous concepts? Are the other stepping-stones related or independent? From small to large, dark to light, your form and color contain a pattern too coincidental to ignore. When I was a young boy, I was both small in stature and weak in knowledge. Like a small trapezoid in an exposed world, I was confused and uncomfortable. However, as both my strength and knowledge expanded, so did my comfort. From dark blue to a brighter yellow, I became more outgoing, mature, and bold in my actions.

Hold on a moment, though. From dark to light, your pattern holds strong. Why then, do you resort back to blue and violet while you are still growing? At this same juncture, your form expands. Moving left and then right, it sways back and forth. Now, my good friend Variable, I question what I have constructed. You have wedged this problem into my stream of consciousness: splitting and testing what I thought I knew. For when life is easy, and things are going as planned, confidence is gained and boldness harvested. Ultimately, though, as you break your norms, conflict seizes this comfort. Inevitably, youthful feelings of inexperience emerge once again, regressing your emotions to a previous state. Combining the bright hues of your previous knowledge and experience, however, you piece yourself together. In this entire process you also gain knowledge about yourself, as well as the meaning of an orange rectangle and color regression on a sculpture.

This conflict and resolution were the fourth and fifth steps; they added much to your emerging character. And with these additions, I thought our relationship had been discovered. As is evidenced by many things in this world, however, your being is more complex than simply the obvious. Just as a wedge has many uses and is constantly changing, so too are your defining elements. While your positive form occupies a slice of space and contains billions of molecules, it fails to occupy even a fraction of the universe. Surrounding you are, thus, an infinite number of other variables, each of which contribute to your ever-changing being. Just as they interact with the wavelengths of your colors and the toughness of your skin, they also define the edges of your form. As steel turns to air, air tapers to steel, positive and negative wedges interact.

These other forms of wedges exist and become the sixth stone to step on, further establishing your character. The negative spaces between your sections juxtapose the finite and definable qualities of your positive form. These are your wedges that are truly variable, constantly changing. In one moment, an insect dissects this space, while in the next it is filled with the decomposition of leaves. I believe this is one of the more complicated aspects of you, Variable, and I don’t intend to pretend I know everything about it.

In continuing with this theme, the seventh and final stone forming your character is not about you, but about your environment. Essential to any being are their orientation among their surrounding elements. In your case, there are two buildings that run parallel to your body, representing professional occupations. In music and architecture, change is necessary, as originality is key. Even broader than this is the fact that you are on a university campus: a place where dreams are formed, futures molded. Variability is synonymous with this collegiate atmosphere, as students’ lives are constantly shifting. From a change in major, to a flux in ones beliefs, it is a time of self-identification. In this way, your physical features are defined more by these facts than by their own mass.

As we have spent these past weeks together, Variable, each of your encompassing elements has suggested much to me. Your form, material, and color provided a base, while the conflict and resolution of pattern pushed my thinking. Then I realized the impact of the negative space and environment on your story. They build upon one another, adding layers of insight reaching to the heavens. However, as I have identified these seven areas, I realize that I have only scratched the surface of your variability. As such, I wish only to imitate you for a moment, starting at the beginning of your path upwards. Perhaps I will gain more of your wisdom this way.

Sincerely,

Joey Laughlin

WP3: Rough Draft

Dear Variable Wedge,

You change, shift, and fluctuate through the passing of time. Commencing on a linear path, your form growing all the while, you reach out towards the sky. On this series of steps, I hop into the abyss. While many simplify you into a simple tool: one of six elementary instruments conceived by man, you serve a greater purpose than that in my eyes. You hold, split, and lift time: all at the same moment, allowing me to view the depths of my life. Then, when it appears that I have figured you out, you vary yet again, showing me something new. Angle after angle, your panoramic nature brings new insight to my soul.

As with stepping-stones, each builds off of the last, with the most important information residing in the first step. As your first step, I notice your form: a wedge. Your positive mass takes up a slice of space in the continuous circle of time. Geometric and progressive: you are no doubt marked by the fingerprint of mankind. He has left you inorganic, in the shape of a tool. But perhaps you have left your mark on him as well. For, this evolution of a trapezoid reminds me of someone close, someone dear. At one point, a younger me, but upon further reflection, maybe my older self. Alas, like your steps I see continuous growth. A tool you are: with the ability to peer into the depths of my heart. At first my dreams appear linear, but then again, they are in a constant state of variability as well. Changing, shifting and fluctuating.

Evolving too is the material you are made from. As a second stepping-stone, your cor-ten steel skin is rigid, yet vulnerable to the elements. Or is it? While it appears to age over time, polished to rust, one assumes that you will eventually become too weak to hold yourself up. Surprise them you will, however, as this aging serves only to strengthen you more. For with time and rust comes a more stable chemistry. As with life, we bleed and scar from wounds, hurt from broken bones. However, upon reconstruction, these bones and scars only serve to make us stronger.

This brings me to your third stepping stone, Variable Wedge; which is not separated much from the first two. I can see your hues of experience progressing through the years. Visible but not overwhelming, these colors exist. Blue then violet. Red then yellow. As they progress, they become lighter in value. But does this build upon the concepts of the first step? Do these separate aspects mesh together, or are they unrelated? From small to large, dark to light, you contain a pattern too coincidental for me to ignore. Thus, as you pose the question as to what the colors of your core being represent, I give you my answer. For when I was a young boy, I was both small in stature and weak in knowledge, as though I was a small trapezoid, somewhat confused and uncomfortable when exposed to the elements of the world. However, as both my strength and knowledge grew, so did my comfort level. From dark blue to a brighter yellow hue, I became more outgoing, mature, and bold with my actions.

Hold on a moment, though. From dark to light, your pattern holds strong. Why then, do you resort back to blue and violet while you are still growing? Left and then right, your form sways back and forth: diverging once again from the norm you have followed. Now, my good friend Variable, I question what I have constructed in this moment. You have wedged this problem into my stream of consciousness, splitting and testing what I thought I knew. For when life is easy, and things are going as planned, confidence is gained and boldness harvested. Ultimately, however, something knocks you down as you stray from what you were comfortable with. Inevitably, feelings of your inexperienced youth emerge once again, a sort of regression. Eventually, however, you proceed onwards, gaining confidence and maturing once again. In the process you also gain knowledge about yourself, as well as what the regression of blue and violet hues on a sculpture mean.

This conflict and resolution were the fourth and fifth stepping-stones, adding to your character. And with these additions, I thought I had finally figured out our relationship. As is evidenced by many things in this world, however, your being is much more complex than simply your obvious features. As a wedge has many uses and is constantly changing, so too are the elements that define you. While your positive form occupies a slice of space and contains billions of molecules, it does not even occupy a billionth of a fraction of the universe. Surrounding you are, thus, an infinite number of other variables, each of which contribute to your ever-changing being. While they serve to define the edges and elements of your form, they also interact with the wavelengths of your colors, and the toughness of your skin. After each of these copious variables has taken its effect in a moment in time, your being is essentially calculated, as is mine as well as everyone else’s. With each of your passing sections, steel turns to air, and air tapers to steel: positive and negative wedge interacting and interlocking, providing a visual sense of what you are.

These other forms of wedges exist in a manner in which they become the sixth stone to step on, further establishing your character. The negative space between your various sections juxtaposes the finite and definable qualities of your positive form. These are your wedges that are truly variable, constantly changing. At one moment, an insect dissects this space, while in the next it is filled with decomposing leaves from trees. I believe this is one of the more complicated aspects of you, Variable, and I don’t intend to pretend I know everything about it.

In continuing with this sort of thought, the seventh stone is more about the space that surrounds you. Essential to any being are their orientation among the elements in their environment. In your case, there are two buildings that run parallel to your body, which in turn represent professional occupations: those of a musician and an architect. Even broader than this is the fact that you are on a university campus: a place where dreams are formed, and futures molded. Variability is synonymous with this collegiate atmosphere, as students’ lives are constantly shifting. From a change in major, to a flux in ones beliefs, it is a time of self-identification. Also important is your orientation in such a way that you grow as you make your way Eastward. I believe that you hint that one way we grow is to reconnect with our innermost being, which is formed when we were little. Reconnecting with our roots is one way that students mature.

As we have spent these past weeks together, Variable, each of your encompassing elements has suggested much to me. Your form, material, color, conflict and resolution of pattern, negative space, and environment each play a role in your story. They build upon one another, adding layers of insight reaching to the heavens. So just as you will continue to change, shift, and fluctuate, I have realized that we are similar in that regard. For now, however, I wish to become part of your variability; for this is our common thread.

Thanks so much,

Joey Laughlin

WP3: Statement of Purpose

One type of communication is through the creation of art such as a sculpture. This being said, even though the artist may have the desire to convey a particular message during his/her design process, once completed, the work itself manifests its own message and meaning to each individual viewer. Keeping this in mind, the elements of each sculpture that identify with each individual may vary from what the sculptor originally intended. Thus, after spending hundreds of minutes studying the piece Variable Wedge by Sam Richardson on the UNL campus, I have come to a particular realization about what the piece means to me. In doing so, however, it would not be particularly meaningful to discuss what I have learned with Richardson, as he may or may not have designed the piece with the purpose that I believe it has. Instead, I should convey this message, in the form of a letter, to the sculpture itself.

As I attempt to convey my message to Variable Wedge, it is important to keep in mind three particular aspects vital to the success of the letter: the audience, the context of the message, as well as my purpose. Perhaps the most unusual part about this endeavor is that it does not involve a typical audience. Although a sculpture is able to communicate with people via its subject matter, form, and syntax, it is not able to respond verbally to a letter. Thus, whereas one might normally write a letter with the purpose to hear back from the primary audience, this letter will not be in that format. Instead, it will be as if I am speaking to someone who is unable to communicate back to me either verbally or with motion. In addition, I must also keep in mind the secondary audience, which consists of my class, teacher, and other people who might walk by as I read the letter aloud. Many of these people most likely have not looked closely at Variable Wedge before, and as such, it is important to take this into consideration when formatting the note.

Besides audience, it is just as important to consider the context in which the message will be presented. As a sort of theatrical performance designed to convey my message to its primary and secondary audiences, I must write the letter in such a manner as to engage both audiences. This context necessitates the use of colorful adjectives as well as having the mindset of an actor when reading the letter aloud. In addition, the way in which I read the letter will also be crucial, as this iteration mirrors the form and function of the sculpture. The environment in which I read, the outdoors, will also require that I project my voice so it can be heard by all members of the audience.

Lastly, as I take the audience and context into consideration, I can finally take into account the two-fold purpose of the letter. First and foremost, it will be to dictate to the steel wedge what I have gained from his form, color, textures, orientation, etc. There are countless aspects of the sculpture to address, and as such, it is important that I condense what I want to say into a concise yet precise letter. The second aspect of this purpose involves engaging with the secondary audience in a way that incorporates them into the situation as well. Hopefully through the letter they will be able to identify with the sculpture as I do.

WP3: Fourth Post

As is obvious when looking at the sculpture located between Architecture Hall and the Westbrook Music Building, the name Variable Wedge suits the form of the object. A device that tapers from one edge to the other, a wedge can be used to hold objects in place, split an object apart, or lift an object up. Thus, there are many different contexts that the variable wedge could be placed in. The wedge is one of the earliest tools developed by man, and so in creating this particular model of the tool, Sam Richardson might be trying to tell us something about our primitive beings in respect to the modern, man-made world (as evidenced by the geometric shape).

Although the sculpture itself may at first appear to be this long wedge split into seven sections, acting like a door-stop in time, the name might also be referring to each individual section in its own right. In addition, if one looks even closer, the name could also be referring to the negative space that exists in-between the various sections, as these are angular wedges as well.

In looking at the history of the wedge, the time when it was first used or incorporated into society is largely unknown. Archeologists have uncovered evidence, however, that points to the Egyptians using bronze wedges to sculpt and break away stone when they constructed. In this way, used as a device during the construction and manipulation of materials, it is fitting that Richardson chose to orient this steel piece in between Architecture Hall and the Westbrook Music Building. Of course it is somewhat obvious that a wedge could directly be associated with the function of architects in society, as they design and manipulate materials as well in order to create the structures in which we live. Musicians too, however, manipulate waves of sound so that they resound in us, bringing forth various feelings in our soul.

WP3: Third Post

Upon further reflection of Variable Wedge by Sam Richardson, there are other aspects of the sculpture that are necessary to look at when analyzing its rhetorical value. Building upon the materials used, as briefly mentioned in the previous post, the sculpture is not only made out of Cor-Ten Steel, but this steel is then situated on top of a cement foundation beneath it. In this way, not only does the steel have a strong and sturdy structure, but the concrete only further solidifies this form. This rigid, geometric figure produces a stable reaction to the viewer, as if the form is where it is supposed to be, and not moving from that state. Despite this, there is a definite narrative in the progression of the wedge, which sort of juxtaposes this stationary feeling, and provides some movement for the sculpture.

As far as the other chemical and visual properties of these two materials, Cor-Ten steel is meant to weather from its original state, while concrete remains relatively the same except for cracking due to shifts in the ground. With the steel, a chemical, corrosive process produces a protective layer of rust on the outside when exposed to outdoor elements over time. This is particularly interesting, as this changes the color of the sculpture, with the exception of the sides painted with the bright hues. Visually, it is somewhat obvious that the appearance of Variable Wedge will change over time due to this chemical change, especially its color. In addition, however, its form will shift slightly as well. When the Wedge was first created and assembled in its current location, one can assume that great care was taken to situate it in a manner parallel to Westbrook Music Building, but also to place each section of the wedge in-line with the other sections. Although this linear progression is still a major effect conveyed to the viewer, when one views the sculpture from the West, it is obvious that the first four sections have shifted slightly. In this manner, there are slight discrepancies between these sections, which I would imagine Richardson would have thought about when he created Wedge. Rhetorically, this can be conveyed through a logos lens as pertaining to the variance experienced in one's life: areas of tension, etc.

Lastly, when talking about the positioning of the entire piece, especially when viewed from the West looking East, one notices how the form of the sculpture points out into space. The tops of each of the sections extend upwards, so that since the piece is located on a hill, it gives the viewer a feeling that they are being shot up into the sky. When applied to this theme of life that the sculpture insinuates, this gesture is quite fitting, as it implies setting high goals for ones self. "If you shoot for the moon, you will land among the stars."