Life Soundtrack

Guns ‘N Roses, “November Rain”: Contrasting scenes introduce this video: a man popping Lexapro or Zoloft drugs and shots of alcohol in attempt to ease his pain, a large gathering for a Guns ‘N Roses show, an elegant wedding scene strung with smiling faces. In addition to these clips, a lone lighthouse stands as a symbol of guidance, but also conveys a sense of loneliness. Grey skies fill the sky above this lighthouse, symbolizing difficulty and anger. As I neared the end of my high school career, these feelings of frustration and anger seemed to cloud my head and being contained in my tiny school became more and more difficult. In a community where everyone seems to be enjoying themselves but oneself, feelings of aloneness abound and being around those others proves to be quite difficult. High school can be quite clique-y: girls in their Chanel and Burberry aren’t likely to accept cotton T-shirt girls who have academics on their mind more than having fun. Standing alone by the lockers, girls strutting by in their Jimmy Choos, a small teenage girl is likely to feel a lack of self-confidence. Loneliness is all too common for those girls who feel they don’t fit in with the crowd; who are all too impatient for change. Guns ‘N Roses’s lyric of “nothing lasts forever, even cold November rain” reminds those struggling that things will change; loneliness doesn’t last forever and there are better things to come. Here, loneliness stands as a seemingly object of barricade; a feeling of despair that seems as though it will never end.

Kenny Chesney, “Who You’d Be Today”: Boys joke with each other as they toss around a basketball in the introduction of the video, but the audience can tell something is not quite right by the look in the boys’ eyes; something seems to be missing from the scene. Clips of individuals suffering from loneliness, from missing someone, flash throughout the video. Candles and flame are also constant, representing an apparent fatal fire but also representing losing someone. Losing a friend may be one of the hardest things a teenager must suffer; my sophomore year of high school proved to test my strength with the loss of my teammate and friend. For a teenager already struggling through high school, losing a friend could only add to feelings of despair and loneliness. Candles representing loss and respect for the lost line the alter at a Catholic funeral, flickering strongly as a priest delivers the Introit and the Mass of Christian Burial. The strength of the candle’s flame suggests that life has not ended, but changed. Those candles burning brightly during the ceremony instill a sense of hope, a sense that through tragedy comes strength, and perhaps strength is what this loved one was intended to bring. The continued flicker from the flame suggests that life does go on, that this loved one’s spirit will never be forgotten and that, as Chesney concludes, they will be seen again someday.

No Doubt, “Running”: “Running” shows clips from Gwen Stephani’s youth, inviting us into the fun she experienced and the persistence she used to “hold on” during these years. At one point, a high school locker room is presented with a teenager modeling an 80’s cheer or dance costume. In the background, others scurry around the locker room, readying themselves for their One Act plays or pre-track meet practice. During my own high school years, many hours were spent and memories made in our shabby locker room. Tacky painted lockers collected inches of dust, a poor paint job spelled out “Bulldogs” across the wall. The locker room served as a gathering point for teammates as they headed out to practice; volleyball girls pulled on their knee-pads and elbow guards while the runners bundled up in their moisture-wicking dry-fits. The locker room provided a place for closest friends to gather, catch up on the gossip of the day, and lend a shoulder for those having a bad day. It stood as a source of motivation: with friends that care by your side, who are ready to continue bonding on a lactate-threshold workout, everything seems to look up. The locker room in the video seems to hold friends goofing around together, simply trying to enjoy themselves – and No Doubt’s lyrics about “running” and “making it” parallel those ideas of friends gathering. Anticipation of gathering with teammates and friends at the end of a hard day is enough to get a struggling teenager through that day with hope.

Sugarland, “Already Gone”: The first scene the audience sees in “Already Gone” is Jennifer Nettles rising above a group of cars, and then a young teenage girl in the driver’s seat of a car. As the lyrics suggest, this teenager is preparing to move on to a new chapter in her life, taking note of her mother’s advice as she leaves. As I prepared for my own departure to experience another stage of life, I too listened to my mother’s saddened voice as she provided words of encouragement and support. In the driver’s seat of my own ’96 Jeep Cherokee, I was ready to take on this new adventure.

That Jeep provided a means of escape from everything I had previously known. Given an open road filled with new opportunities, a shaky, not-always reliable Jeep seemed to offer excitement and anticipation of what was to come. The Jeep held many old memories of puddle-jumping through East City Park and “accidental” trips down the Cowboy trail, but the road ahead promised new memories with new friends. Sugarland sings of being “gone,” which is just what the Jeep accomplished: being gone, transitioning to a new world. Though anywhere life takes one will likely bring struggles and tough decisions, often change is inevitable and actually good. “Jeepy” served as a getaway; a chance to put the past completely in the past, and move ahead – to see, through the windshield, a new world of opportunity.

Keith Urban, “Everybody”: This video offers clips of apparent “loners,” each walking their own paths in attempt to get somewhere, though we do not know where at the beginning of the video. As the individuals begin to come together, however, it becomes clear that these people make up the band, a group of common men. Like these men, feelings of loneliness have been recurrent throughout my youth. Fear of never fitting in with the right “band” clouded my head for many years. In Urban's video, the men each walking alone appear to be experiencing similar feelings of loneliness. Indeed, the opening line of the song reads: “So here you are now, nowhere to turn… just the same old yesterday.” As they come together, though, they are no longer loners but members of a community: a group of men with similar interests who genuinely care about each other. This group represents just that – a truly unique band of friends who no longer feel alone when they come together. As Urban states, everybody does need somebody to lean on, to express emotions to. A band of friends needn’t always stay the same – in fact, it probably should change – but one does need that band for support. Reaching out for this support may be scary, but true friendship is so valuable, so vital to well-being, that reaching out for one’s own “band” is one of life’s greatest decisions.

Natasha Bedingfield: “Unwritten”: Central to “Unwritten” is the theme of books – “your” book, in particular. The video presents an enormous library with books of every kind – we see a “Gazette” and “Un Voyage Au Fond.” Most notable, though, are the books that come to life – books with legs, dancing around, portraying Bedingfield herself. These books represent the idea that no one knows what is ahead in life, and in your own “book” all you can do is seize the moment. My book of life, as I transitioned to college, remained widely unknown – ideas randomly strewn across the page but in no particular order, with no consistency or sequence. The point of the unwritten book, however, is that no one knows which direction life will go. Instead, we must take advantage of the present, and not be discouraged by the unknown. The unwritten book is one’s own life; no one but that person can write it. An unwritten book is a book filled with opportunity and change, unknown experiences that will one day make the author who they are.

Though the unwritten book is slightly intimidating, Bedingfield presents the idea in an exciting, optimistic manner – as authors of each of our own books, we may write them however we choose. A difficult past may play a role in the outcome of the book, but we may do as we choose with the present and future – we can turn the book around, create a happy ending.

Jordin Sparks, “One Step At A Time”: Feet of every size, shoes of every style are shown walking through different scenes of this video – feet “taking steps” in different directions. Old-school converses, Birkenstocks boots, Rocketdogs and sleek black oxfords show the variety in individuals in the video, but each is taking their own steps in life. Faith that what is supposed to happen will – taking one step at a time – has proven to be an important aspect of my life. Everyone faces difficult situations; everyone also experiences moments of complete happiness. Living in the past or future does little for fulfilling the present, and to fulfill the present we must simply take one step at a time. Our feet will lead us where we are to go in life; as individuals we need to have confidence in that. Feet can do whatever we want them to – walk through life, run through life, skip, dance, or drag. It is each individual’s decision to choose which path to take, but we must be confident in our paths. In order to be truly content, we mustn’t worry about yesterday or tomorrow. Taking one step at a time, one problem at a time, is vital to happiness and living worry-free. As Sparks states, “it will happen when it is supposed to happen” – whatever that may be.

Class Reflection

I feel this English course has absolutely been a learning experience for me; I like to think that my writing has much improved since the beginning of this semester. I’ve learned to observe and analyze scenes and pieces of art, rhetorically analyze writing, speeches and pieces of art, and combine observance with reflection. I certainly feel that I know more about the use of writing jargon – pathos, ethos, logos, among others – and how to employ them directly into my writing. I’ve also discovered, through much discussion and debate, that multi-media IS a form of essay, and we can incorporate these forms of work into writings to enrich them. I now know exactly how to do that, by having to repeatedly include hyperlinks, videos and pictures to my writing. Previously, I had not given much thought to including multi-media into my writing; it had always been standard boring writing. However, it is clear to me now that such inclusions enhance writings and, if done correctly, make a piece more visually pleasing.

My attitude about writing has not changed drastically; I have never hated it but have never felt it was quite what I am best at either. I cannot say a love for writing has been instilled in me, but I do feel I know now how to make my writing better and that makes writing (and being finished) all the more enjoyable.

I’ve realized the importance of brainstorming and gathering ideas and details before beginning my actual writing. Details, it turns out, can make or break a piece of writing – we learning this from the very beginning in our observational/reflective writings, where I had to closely observe minute details at the Sunken Gardens in Lincoln. I will now always use the process of picking out details to make my writing as descriptive as possible, as I know this is very important. The process of brainstorming, listing and taking notes as the first step is very beneficial to me, I am then able to gather my thoughts and organize what I am trying to say. Peer-reviewing with other students has also become an important part of my writing process. Though I’ve done it before, I think making it mandatory that our classmates reviewed our work was very helpful. They know exactly what to look for since they have the same assignments, so are better able to give ideas that will be helpful. I often have people outside the classroom critique papers as well, but have found that when a classmate does it they offer better suggestions simply because they know the material and what I should be focusing on. I have been able to heavily revise my papers because of classmates’ suggestions. In addition to classmates, conferencing with professors or tutors is very valuable to me, because who knows better what they are looking for than themselves? After conferencing, I feel I know exactly what I can do to make my writing fit what the professor is looking for, which may vary from professor to professor.

“Good writing” is a pretty difficult concept to grasp – one person might think a work is great while another looks at the same work and considers it trash. I think we can always strive to make our writing better, and this is what is done through peer reviews, revision, and exercises such as “cubing.” Improving my writing is why these practices have been so valuable to me. In evaluating the writing of others, I am able to look for those same things that I strive to improve in my own writing. I think it is always helpful to get different perspectives on writing, so you can enrich works. Writing is a tool I feel will be important to me not only in the classroom, but in the world throughout my life.

Outdated, Blemished, but Reliable

The scent of freshly brewed coffee has long been a constant in the mornings of my rural home. This inviting aroma fills the house; one would think a coffee bean grinding business were in operation. Instead, the scent stems from a single Bunn coffee maker that sits in the corner of the kitchen.

The coffee maker may look long outdated. No thermal walls surround the carafe. The worn handle has no padding for sensitive fingers, no alarm beeps the minute the brewing has finished. Instead, plastic exterior walls stained with coffee house an equally stained glass carafe. This classic Bunn maker, however, has proved to continue to produce top quality coffee for years.
Every morning, that coffee pot is filled with black, no-nonsense coffee, no matter how many cups my mother has already went through. As a young child, when I wanted “coffee,” my mother would pour a small amount of coffee into a cup and then, upon my request, load it up with milk and sugar. As I aged, the amount of coffee became more and the amount of milk and sugar less.

My mother showed me how to place a coffee filter inside the funnel and what ratios of coffee to water to use; though still the pot always seemed to be full and I needn’t worry about brewing it myself. Upon mornings before school, the coffee pot became a source of motivation and optimism: “At least I can rely on my coffee!”

The coffee maker has suffered cracks to the exterior, multiple coffee and water stains, and damage to the warmer as a result of a hurried exit of the house without double-checking the maker. Still, it is as reliable as the day it made its first cup of coffee, long before I myself was enjoying its product.

A Toboggan's Memories

Upon opening our garage door, heaps of car parts, ancient posters and toys that we couldn’t quite bring to throw away sit untouched. In the corner sits a prized wooden toboggan. The simple wooden design is far from a fancy $350 “Northern Toboggan and Sled” downhill deluxe toboggan of red oak, but it got the job done just the same. During the first substantial snow of the season, our trusty toboggan seemed to beg to be taken out for a ride.

The L.L. Bean toboggan was made of honey colored steambent northern hardwood slats, which had suffered a fair share of scrapes and cracks through the years. A frayed rope lined both signs of the sled, providing torturous rope burns should anyone be brave enough to take a ride without gloves. Once-sturdy crossbars created individual spaces just perfect for young ones to sit and latch their feet around the person in front. The curved front end of the sled was notorious for continuously blasting the bravest of children who sat in front with snow.

Dad long ago attached a thick, long rope to the front of the sled so the toboggan could give a true sledding experience, not just a wimpy downhill ride: a continuous ride behind the pickup. The toboggan pounced around unpredictably as it flew over hidden pasture trails and frozen cow pies, always seeming to find the perfect bumps to send us into squealing fits as we fought with all our strength to stay on. If the toboggan seemed to be having trouble throwing us off, it always knew just what tricks to pull to send us flying into the snow.

As children, my siblings and I never wanted to leave that toboggan. Frozen fingers, bruised bodies and our mother’s worries didn’t phase us. As teenagers and young adults today, the toboggan holds countless memories for my siblings and I. Though we may feel and act that we are too old for such childish play, when the youngest begs to be taken out tobogganing, none can refuse.

Strength Through Generations

The morning of my confirmation in spring of 2004, I opened a small box to find a dull gold necklace inside. I took the necklace out and turned it over in my hand, examining the tiny worn chain that held a small gold cross with an opaque gem in the center. Clearly an ancient piece of jewelry, I knew I had seen it before but could not quite place where. My mom watched as I contemplated this, and then sat to tell me its origins. This tiny treasure had belonged to her grandmother and then was passed down to her mother, on to my mom and finally to me. The necklace was more than just an heirloom, however; it held years of memories, perseverance and, above all, strength.

I have few memories of my great-grandmother. What I do remember is a sweet, frail woman whose home always smelled like a mixture of her late husband’s woodwork creations and my favorite “m & m party cookies.” She passed on her favorite cookie recipes to her daughter, my grandmother, of whom I have a few more memories. Playing “good ball, bad ball,” sharing the best ice cream treats, and watching soap operas that I didn’t comprehend one bit are among the things that stand out to me. At the time, I never would have imagined that this ill woman had suffered from depression issues for most of her life. To me, she was full of happiness and laughter.

My mother possesses many of these characteristics, and the strength that has been a part of her family for so long is the most apparent. Faced with any obstacle, my mother prevails. Upon opening this small piece of jewelry, I knew it meant more than just a pretty accessory. The cross necklace represents the strength of my mother’s side of the family, the strength that I can only hope to one day have.

Rhetorical Analysis

“Everybody” grabs the audience’s attention immediately by stirring emotions with the first line. Keith Urban opens with “So here you are now, nowhere to turn… just the same old yesterday. You made a promise to yourself that you were never gonna be this way.” This line uses the rhetorical appeal of pathos to initially provoke listeners to relate with their own experiences and feelings of loneliness. This content is paralleled in the video, as individuals walk alone through the dim light. By each person’s expression, we can see that they too are experiencing loneliness. Urban connects with the audience in this way. Everyone has likely felt lonely and a sense of despair at some point in their lifetime; this opening line brings to the surface those emotions.

After the opening verse the song changes tone a bit; our emotions are still tugged at but in a slightly different manner. Urban advises “don’t give up now, you’re so close to a brand new day.” While our emotions and feelings of loneliness are on the line, this line assures us that no tough time is permanent, and with persistence and optimism feelings of despair can be overcome. Listeners are likely relating these words to their own experiences, and this truth that “everybody needs somebody” instills a sense of hope and assurance in the audience. At this point, the individuals in the video are coming together and we see that although they may experience hard times, they do have somewhere to turn. As they begin to play, we no longer see the emotions of loneliness and sadness; instead they are content being in each others’ company. This visual and audio convinces the audience to not let their emotions kill them; to be strong and reach out. Feelings of needing someone are no false need; as humans we do, in fact, need somebody. By the conclusion of the video the audience feels that although tough times will inevitably happen, others will be there if we allow them to.

Reflective

“Everybody” reflects on the idea that everybody does indeed need somebody. The song initially stirs emotions of loneliness and despair; the empty feeling of having no one to turn to is all too familiar for most of us. Everyone experiences tough times, yet many of us feel we have nowhere to turn when we do experience pain. This is no individual fault; society may put pressure on everyone to hide emotion, to be “tough,” and therefore we feel it is deviant to reach out for assistance or to give it away ourselves. Our individual pride may keep us from reaching out to others, but society only emphasizes this notion with the “tough guy” appeal that so many of us strive for.

Before the chorus, these are the only feelings the song and video convey. However, as the tone of the video changes, so does the emotion felt by the audience. As soon as Urban confirms that “everybody needs somebody sometimes,” we feel that it is indeed okay and normal to feel we need somewhere to turn, to want a hand to hold or an ear to listen to us. In fact, needing someone is part of our lives; without others we would be hopeless. This is where despair turns to hope, and we feel that perhaps there will always be someone there for us. As the band comes together, this feeling of hope grows; those empty feelings that were initially brought to the surface are replaced with optimism. Certainly no one wants to feel alone, and the conclusion that everybody needs somebody is an obvious but valuable idea. Perhaps those of society who value the “tough guy” appearance do not matter; what matters is that we as individuals have somewhere to turn to in tough times. Keith Urban’s “Everybody” persuades his audience of this point, and makes us want to reach out.

Observation

Keith Urban - "Everybody"

Keith Urban’s “Everybody” video begins with gloomy clips of very different individual characters. First, we see Urban himself walking slowly down a dark corridor. The scene quickly flashes to a bald man walking alone along a building, and then to a larger man riding alone in a taxi. Each man seems to be feeling a sense of loneliness, as none are smiling and each appears to be completely by themselves. A fourth individual also walks alone, this one next to a graffiti-covered wall. A biker slowly rides away down an empty street. As Urban begins to sing, clips of each individual flash again; this time they are each singing the words we hear. Still, they are all alone in dark settings. The first verse of the song confirms that these individuals are, indeed, lonely: “Here you are now, nowhere to turn… just the same old yesterday.” From each character we feel a sense of despair; the dim lighting with only gray and off-white coloring gives the impression that times are tough for each of these people.

As Urban continues to walk in the darkness, he acknowledges that “everybody needs somebody.” After this statement, one by one the characters step onto a stage in a still dim setting. However, as Urban advises to not give up, the characters come together on the stage. Finally, Urban himself steps onto the stage and the band prepares to play as one. As soon as the tone of the music changes, color fills the screen and the individuals are no longer alone: they are part of something bigger, something stronger. The brightness and cohesiveness conveys a new message of hope, rather than despair. The remainder of the video shows the band as a group who stands together: “ You’ve got to have someone beside you,” Urban concludes.

"Persistence of Memory" - Salvador Dali

Melting clocks, an unidentifiable creature, and the stillness of this piece invite us into a sort of dream world. Upon first glance at Salvador Dali’s painting, “The Persistence of Memory,” melting clocks grab our attention. The next aspect that jumps out is the animal-like creature upon which one of the softening watches rests. In the background, we see a bleak landscape. A sandy beach stretches to a body of absolute still water; the water meets the featureless sky at the horizon line. In the right side of the painting, one of the lifeless watches drapes over the branch of a dead olive tree. Ants covering a closed pocket watch are the only life form to be seen. From the dark shadows cast on the scene, we can predict the time is either dawn or dusk. The objects of nature found in this painting are very distinct and very recognizable; however, the scene would not be found in real life. This combination of real and imagined constitutes the art movement of Surrealism, of which Dali is most famous for (Art Beyond Sight). “The Persistence of Memory” portrays a dream-like world where time is irrelevant. A comparison/contrast between the conscious and subconscious convinces us that the idea of time may be ineffective not only dreams but also in reality.

Drooping watches, a symbol of the passing of time, are the focal point of this piece. Quite large in comparison to other objects in the painting, the watches are positioned on lifeless objects: the dead olive tree, an inanimate table, and an apparent unconscious life form. This is the first persuasion in the argument against time: the idea of time may be as useless as, say, a dead tree. A forth pocket watch, in its original form, lies closed on the table. Ants crawl around the watch, suggesting the watch is organic and edible. This notion presents the idea that the decay of time is as ordinary as ants feeding on organic matter.

The large animal-like creature in the center of the piece appears to be either dead or fast asleep. The extensively long eyelashes and resemblance of a human nose suggests a distorted human profile; the body and lifeless tail of the creature suggest some type of animal. This merging of human and animal form is a strategy called anthropomorphism. The distorted watch atop the lifeless body is perhaps the strongest point of argument in this piece. A “dream world” theme is central to the painting; the sleeping monster suggests the simple action of dreaming. Drooping upon its back, the clock suggests the distortion of time in this dreamland.

The backdrop offers a beautiful scene, like that of a postcard, yet it shows absolutely no signs of life. Even the body of water is completely motionless. In these, we see the natural world. On the contrary, melting clocks are not objects we expect to see in everyday life, nor is a morphed animal-human creature. Here, the comparison between nature and technology is made (Salvador Dali Museum). This idea relates to the contrast between our conscious minds and our subconscious minds. Placed into a scene where the theme of a dream world is consistent, the one form of technology – the clocks – is irrelevant and extraneous. Even the clocks do not represent technology in reality, as they are distorted and ineffective. The correlation to be made is the idea that technology, time in particular, is in fact completely irrelevant when it comes to our subconscious minds. In a dream, no sense of time is kept. No measures prevent us from acting upon things we yearn for. Within this comparison, the strategy of example can also be seen. The sleeping creature, while part of a contrast between real and imagined, also acts as an illustration of the correlation between time and the subconscious. Reality would not present us with a creature of this type; only a dream would do so. The distorted clock resting upon this imaginary creature suggests that the sense of time is absolutely irrelevant to the dream world. Within the subconscious, as in this dream-world, nature is the only certainty. Technology, and the measurement of time in particular, is uncertain.

The idea of time distortion offers the most emotion-stirring aspect of the painting with the use of pathos. While it is obvious that time is distorted in the land of the subconscious, we begin to wonder if time is distorted and ineffective in even our waking lives. Why are humans so obsessed with the idea of time, when we have absolutely no control over it? In our fast-paced society, we are constantly looking for ways to stretch our time and squeeze as many activities into our schedules as possible. Yet, when it comes to things most dear to us, such as family and friendship, time tends to have no relevancy. This use of time distortion to generate emotions constitutes the appeal of pathos.

A last comparison to be made of the piece is that of hardness, which is symbolic of certainty, and softness, which represents uncertainty. The “hard” objects in the painting are certain: the jagged cliffs, dead tree, table, even the beach. However, the “soft” objects mark areas of unknown: the melting clocks and the sleeping beast (Salvador Dali Museum). Time, as our clocks measure for us, we think should be a certainty. But do we have any control of it? Absolutely not. We may have some control over what we do with the time in our lives, but we cannot stop time or make it go faster; we cannot go backwards or forwards. We have only the here and now, and no one on earth is powerful enough to change that.

As an audience, we must ask ourselves why these distinctions are being made. Why the barren atmosphere? Why a creature of the unknown, rather than a representation of humans in reality? In using the compare/contrast strategy to differentiate between opposing ideas, we must be careful not to offer a mere either-or-arguement; the audience must be able to take more away from the piece than that. These comparisons are not made to present the idea that our lives demand a view of either the concious or subconscious, but rather that while the land of the conscious and the land of the subconscious are certainly two different worlds, the sense of time may be similar in both. Though we worry about keeping time in our everyday lives, nothing can be done about it.

The melting of clocks can be seen, in reality, as an indication that time and the machine that measures it are ineffective. All things decay in time, as can be seen with the dead olive tree in the left of the painting. Crawling ants also indicate the decay of that which they are surrounding, in this case the one watch that remains sturdy. We can conclude that even those things that appear strong and purposeful will come to a point where their usefulness fades away, and they become useless (Salvador Dali Museum). Even a concept as valued as much as time is just that: a conception. A conception that we have no control over; a conception that, in reality, is ineffective.

"Salvador Dali and The Persistence of Memory." Art Beyond Sight. 12 Nov. 28. http://www.artbeyondsight.org/ahtts/dali.shtml.

"Clocking In With Salvador Dali: Salvador Dali's Melting Watches." Salvador Dali Museum. 12 Nov 2008. http://www.salvadordalimuseum.org/education/documents/clocking_in.pdf

Timothy Liu Extra Credit

Poet Tim Liu described in one of his poems a typical Nebraskan scene, or at least what an outsider likely views as typical. Liu begins the poem, entitled “Off I-80,” with a reference to the sumac on the sides of the exit of the interstate. Sumac is a feature all Nebraskans are familiar with, and the mention of the interstate and sumac draws us in, as we are always interested in those things close to home. Liu goes on to tell of the cornfields to both sides of the road, and the gravel road that turns to dirt and kicks up mud. Most Nebraskans are familiar with this scene.

Liu then spoke about bingo games that only Nebraskans would enjoy, hot dogs and funnel cakes no others would be as delighted by, and well-respected firefighters closing off streets for a small-town parade. This scene, too, is probably a familiar scene to most Nebraskans. Though we know that there is more to our state than cornfields and small-town parades, these things are a large part of Nebraskan life and their importance should be recognized. To me, this hits home especially hard because of my youth in Western Nebraska, where cows outnumber people by a long shot. I prefer cornfields on either side of me to streetlights and honking horns; I prefer knowing my whole town to feeling lost in a crowd. This lifestyle is what is familiar to me, and it is home to me. For this reason, the poem stuck out to me; I could very well relate and that is what draws audience in most effectively: being able to relate.

"Persistence of Memory" - Salvador Dali

Melting clocks, an unidentifiable creature, and stillness of the background of this piece invite us into a sort of dream world. Upon first glance at Salvador Dali’s painting, “The Persistence of Memory,” melting clocks grab our attention. The next aspect that jumps out is the animal-like creature upon which one of the softening watches rests. In the background, we see a bleak landscape. A sandy beach stretches to a body of absolute still water; the water meets the featureless sky at the horizon line. In the right side of the painting, another lifeless watch drapes over the branch of a dead olive tree. Ants covering a closed pocket watch are the only life forms to be seen. From the dark shadows cast on the scene, we can predict the time is either dawn or dusk. The objects found in this painting are very exact, very recognizable; however, the scene would not be found in real life. This combination of the real and imagined constitutes the art movement of Surrealism, of which Dali is most famous for (Art Beyond Sight). “The Persistence of Memory” portrays a dream-like world where time is irrelevant; a comparison/contrast between the conscious and subconscious convinces us that the idea of time may be ineffective in not only dreams but also reality.

Drooping watches, a symbol of the passing of time, are the focal point of this piece. Quite large in comparison to other objects in the painting, the watches are positioned on lifeless objects: the dead olive tree, an inanimate table, and an apparent unconscious life form. This is the first persuasion in the argument against time. A forth pocket watch, in its original form, lies closed on the table. Ants crawl around the watch, suggesting the watch is organic and edible. This notion presents the idea that the decay of time is as ordinary as ants feeding on organic matter.

The large animal-like creature in the center of the piece appears to be either dead or fast asleep. The extensively long eyelashes and resemblance of a human nose suggests a distorted human profile; the body and lifeless tail of the creature suggest a type of animal. This merging of human and animal forms uses the strategy of anthropomorphism, which is just that: merging human and animal characteristics. The distorted watch atop the lifeless body is perhaps the strongest point of argument in this piece. A “dream world” theme is central to the painting; the sleeping monster suggests that simple action of dreaming. Drooping upon its back, the clock suggests the distortion of time in this dreamland.

Combinations of opposing ideas are contrasted throughout the piece. We can see aspects of an everyday, normal scene: a sandy beach, rocky cliffs in the background, shadows falling across the peaceful land. In these, we see the natural world. On the contrary, melting clocks are not objects we expect to see in everyday life, nor is a morphed animal-human creature. A comparison between nature and technology is made (Salvador Dali Museum). Within the natural surroundings, the clocks are the only mad-made objects in the painting. Even these do not represent technology in reality, as they are distorted and ineffective.

The backdrop offers a beautiful scene like that of a postcard, but it shows absolutely no signs of life. Even the body of water is completely motionless. This idea relates to the contrast between our conscious minds and our subconscious minds. Placed into a scene where the theme of a dream world is consistent, this one form of technology is irrelevant and extraneous. The correlation to be made is the idea that technology, time in particular, is in fact completely irrelevant when it comes to our subconscious minds. In a dream, no sense of time is kept. No measures prevent us from acting upon things we yearn for. Within this comparison, the strategy of example can also be seen. The sleeping creature, while part of a contrast between real and imagined, also acts as an illustration of the correlation between time and the subconscious. Reality would not present us with a creature of this type; only a dream would do so. The distorted clock resting upon this imaginary creature suggests that the sense of time is absolutely irrelevant to the dream world.

The idea of time distortion offers the most emotion-stirring aspect of the painting with the use of pathos. While it is obvious that time is distorted in the land of the subconscious, we begin to wonder of time is distorted and ineffective in even our waking lives. Why are humans so obsessed with the idea of time, when we have absolutely no control over it? In reality, time is irrelevant.

A last comparison to be made of the piece is that of hardness, which is symbolic of certainty, and softness, which represents uncertainty. The “hard” objects in the painting are certain: the jagged cliffs, dead tree, table, even the beach. However, the “soft” objects mark areas of unknown: the melting clocks and the sleeping beast (Salvador Dali Museum). Time, as our clocks measure for us, should be a certainty. But do we have any control of it? Absolutely not. We have control over what we do with the time in our lives, but we cannot stop time or make it go faster; we cannot go backwards or forwards. We have only the here and now, and no one on earth is powerful enough to change that.

As an audience, we must ask ourselves why these distinctions are being made. Why the barren atmosphere? Why a creature of the unknown, rather than a representation of humans in reality? These comparisons are made to show that while the land of the conscious and the land of the subconscious are certainly two different worlds, the sense of time may be similar in both. Though we worry about it in our everyday lives, nothing can be done about it. Subconsciously, time makes no difference.

The melting of clocks can be seen, in reality, as an indication that time and the machine that measures it are ineffective. All things decay in time, as can be seen with the dead olive tree in the left of the painting. Crawling ants also indicate the decay of that which they are surrounding, in this case the one watch that remains sturdy. We can conclude that even those things that appear strong and purposeful will come to a point where their usefulness fades away, and they become useless (Salvador Dali Museum). Even a concept as vital as time is just that: a conception. A conception that we have no control over; a conception that, in reality, is ineffective.

Extra Credit: Joanna Klink

One of the poems Joanna Klink read from her book was entitled “And Having Lost Track.” The poem begins with the line: “And having lost track, I walked toward the open field. Now transparent, now far, the day-moon burned through the waste air.” This clip, standing alone, may have no significant value. However, when looking at the context of the rest of the poem, we can see that Klink often uses nature and the vastness of the outdoors to convey messages of solitude, peace, and serenity. In this particular line, she uses very basic elements (open field, moon, air) to portray a basic scene, to show the calm of the place she turns to when she “loses track.” Though vague, she is able to convey her message. Often, we look for minute details to be able to conjure an image or scene being described, but this is not the case with this poem.

In the conclusion of “And Having Lost Track”, Klink states “that we only exist. That we do not have the means. And are free to take place.” By this, we are shown that we do indeed merely exist in the vastness of our world. As humans, often there is nothing we can do but be as we are, where we are, and exist. Perhaps this is where we ought to be, without attempting to control every aspect of this world, even aspects that we may know very well are uncontrollable. We take place in a world where much is out of our reach, out of our control, and sometimes the best thing to do is sit back and simply exist.

"Snake Arm" - Judy Chicago

This image by Judy Chicago, entitled “Snake Arm”, is from a series of glass works by Chicago, “Chicago in Glass.” Chicago is known for pioneering “Feminist Art”, which conveys messages of women’s equality, rights and strength. This entire series of “Chicago in Glass” expresses the power of the human hand and how gestures can show meaning. In order to understand this piece of art, the rest of the series must be acknowledged: hands are used to express various emotions and mind-sets and also stand as a symbol of vulnerability and mortality. Differences in hand gestures are used to illustrate choices made, such as reaching out or pushing away. Glass is used because of the transparency, which allows us to see through to what is “underneath the skin.”

This particular piece of work combines a raised fist with an encircling golden snake. The raised fist is a sure symbol of unity, power and uprising, while the symbol of the snake may have controversial meaning. Often, a snake symbol is associated with feminism and fertility, and also of medicine. In this perspective, the snake would be presented positively. However, the snake has also been known to suggest negativity, problems and evil. In the case of this art, the snake resembles a bracelet that is a reminder of powerful women, such as fertility goddesses, biblical Eve and the Greek goddess Athena of wisdom and war. Gold is a symbol of beauty and wealth, and giving the snake this color creates the idea of beautiful, powerful women. Upon looking at this peace, and with background information on the artist and the series, we can come to a fairly complete conclusion about the piece. Though it is no hybrid piece of art (it contains no text), we gather the message the artist is conveying: women have a very powerful, righteous place in society and need to rise above inequality and gender stereotypes. Because of the awareness of Chicago’s purposes in art, it is easier to understand in interpret. Feminism, the cultural context of this piece, is represented in the artwork. By putting together separate components of the human hand and the encircling snake, a piece of rhetoric concerning feminism is created.

www.etchmaster.com

www.thespec.com/article/257895

www.judychicago.com

www.brooklynmuseum.org

Winston Cigarette Ad

This Flintstones advertisement for Winston cigarettes conveys the idea that smoking is cool, with absolutely no health precautions, disclaimers or warnings. We can see from the video the drastic changes that have occurred in both technology and attitudes since the time this commercial was aired in 1961.

The ad features Fred and Barney Flintstone enjoying a smoke while they lazily watch their wives hard at work. In attempt to sell their cigarette, Winston uses the cartoon to endorse smoking this particular brand. The characters claim the cigarette has the best taste (“the way a cigarette should be”), a pure filter, and comes from the finest selection and process of tobacco. The advertisers use a popular cartoon to promote their product and reach out to the television audience.

Today, a commercial such as this would raise much controversy and likely be banned from television. It could be argued that this particular commercial was targeting a young audience, since the Flinstones is a program typically viewed by children. In the sixties, this concept was not thought twice about – for one, we were not aware of the dangers of smoking, and secondly, programs aired on television were much more liberal. In some perspectives, we have come a long way since this time: obviously, we know the effects of cigarette smoking and ads such as this are banned. Children are not targeted (at least not up front), and it is mandatory that cigarette ads provide health warnings. Endorsement by such entities would provide a bad reputation, while in the time of this ad it was an effective way of sale. Still, we often come across ads or programs that give the idea that smoking is “cool.” While it may not be as direct as this ad, cigarette companies are still finding ways to promote their deadly product to audiences of every kind.

How I Go - Yellowcard (Big Fish)

Yellowcard’s “How I Go” was written about the movie “Big Fish” after its release in 2003. The hit film tells the story of a young man who feels his father’s life has always been a mystery; the elder (Edward) is known for his extensive tales about his adventures in life. The son, William, is determined to find out who his father really is, and as his dad is dying he begins to finally piece his life together. He asks his father’s help in revealing his true self, only to get the usual response that he has already told of his life through his stories.

In this video, the song is put to clips of the film to depict the story. Though the clip shows only a glimpse of the movie, we get a strong sense of the story through the words that go along with the clips shown. The song takes us through Edward’s adventures while his son attempts to sort fact from fiction. We see scenes from Edward’s experience with giants and circuses, and his endless quest to win over the girl he knows he is supposed to be with.

The line from the chorus of the song, “… this isn’t how I go” stems from Edward’s story of how he once looked into a witch’s glass eye and saw his death. This is another tale he tells his frustrated son; even on his deathbed he is “telling tales.” However, we can gather from the song the true moral behind the story: “Son, I am not everything you thought that I would be… but every story I have told is part of me.” Without watching the movie, we see the story through the combination of the song and clips. Edward may have elaborated his life to make it more interesting, but William soon learns that not all his father told was lies. The clip, and also the movie, ends with Edward’s funeral, where William sees characters from many of his father’s tales come to honor their friend.

Sarah Palin - Use of Logos

Moderator Gwen Ifill begins by asking vice president candidates Joe Biden and Sarah Palin “What promises, given the events of the week (the bailout plan), have your campaigns made to the American people that you are not going to be able to keep?” After a brief response by Biden, Palin is given the opportunity to prove herself to Americans. She opens with the statement, “The nice thing about running with John McCain is I can assure you he doesn’t tell one thing to one group and turn around and tell something else to a different group.” This is an attempt to show the audience that she and McCain, unlike Biden and Obama, will stick to their word; America will not have to worry about false promises within their campaign. Ideally for Palin, Americans will look at this contrast as a logical reason for favoring the McCain campaign. While this is an obvious logos appeal, Palin also appeals to the audience’s emotions with the use of pathos: she shows us that we, America, should never have to worry about false promises and with her and McCain in office, we are free of that worry.

Palin then launches in to a speech about an energy plan that Obama voted in favor of. This plan gave large oil companies big tax breaks. In response to this, Palin claims she “took on those oil companies and told them no way… that greed wasn’t going to happen in my state. I had to break up monopolies and say the people are going to come first, those tax breaks aren’t going to the big companies anymore – not when it adversely affects the people.” By these statements, Palin is attempting to show the audience, once again, the logic of voting in favor of the McCain campaign rather than the Obama campaign. She backs this idea up with the fact that Obama did indeed vote in favor of this particular plan. The audience can use their own reasoning to realize the obvious logic: under she and McCain, these tax breaks on large companies would not happen; the people would be more protected.

We can see another overlapping of rhetorical appears when Palin states that she had to break up companies “as governor of an energy-producing state, and undo (actions) in my own area of expertise: energy.” Here, Palin establishes her own authority, employing ethos, by mentioning her “area of expertise.” Still, her argument is rooted in logic. She continues to build on the idea, common in politics, that her side of the campaign is superior to the other (Obama and Biden). Palin closes her argument by stating “I don’t believe John McCain has made any promises that he would not be able to keep.” She leaves the obvious conclusion to the audience, once again. She has presented the facts about differences between her own campaign, alongside McCain, and Obama and Biden’s. The audience is to use this evidence to make their decision.

"Say It To His Face"

Upon being asked, “Are both of you willing to say to each others faces what your campaigns have said about each other?”, both political candidates are given prime opportunity to make use of rhetorical strategies to persuade us, the audience, that each is the better candidate. The interviewer begins by giving examples of each man’s negativity toward the other’s campaign: Obama has deemed McCain angry and out of touch; McCain has described Obama as disrespectful, dangerous, and dishonorable. Immediately, we look to see which candidate handles these remarks better; which candidate’s argument is more persuasive.

McCain begins by establishing his authority, applying ethos. By saying “I know from my experience in past campaigns…” McCain attempts to show us that he is knowledgeable in the area, perhaps more so than Obama. McCain then turns to pathos, playing on the emotions of the audience. McCain claims the allegations that he and Sarah Palin were associated with segregation and church bombings were “so hurtful” – the audience is expected to sympathize. He again uses this strategy when he claims that “Senator Obama didn’t tell Americans the truth (concerning public financing).” This is an attempt to make Americans feel that they indeed deserve the truth, and should not settle for less. McCain’s use of logos was apparent when he stated “it is a matter of fact that Obama has spent more money on negative ads than any other political campaign.” Whether this is fact of not, McCain uses the statistic to logically make Obama’s campaign look bad.

Obama takes a logical approach right off the bat, with use of logos. First, he says to “look at the record”: CBS conducted a poll where 2/3 of American people said McCain was running a negative campaign, while only 1/3 said Obama was. Next, he uses a startling statistic: “100% of John McCain’s campaign ads have been negative.” Though McCain remarks “it’s not true”, the audience will still take this thought into consideration. Obama then uses pathos to relate to the audience: “Americans are less concerned with our hurt feelings than addressing issues that matter most to them.” When Obama comments “Americans can’t afford four more years of failed economic policies – they deserve we talk about most pressing issues”, he is still using pathos to relate to the audience but also employs logos, speaking logically about the importance of the focus of the debate and politics in general. Obama and McCain both use ethos in the way they present themselves: both are already looked at as having authority, and the manner in which both listen and speak enhances their authority.

Both men use a comparison-contrast rhetorical arrangement. Most often, each is comparing himself to the other candidate, making points about which is the “better.” McCain comments that he “always repudiated” out of bounds remarks by Republicans, where Obama has not done so with hurtful remarks by Democrats. Obama, with his comment that “McCain’s campaign said if we keep talking about the economic crisis, we will lose… so we need to change the subject”, is comparing his integrity to McCain’s. He points out that what Americans deserve is to talk about these issues, and he will do so where McCain will avoid it out of fear of losing. Use of the comparison-contrast arrangement helps both men to appear superior to the other by pointing out each others flaws, while boasting about their own decisions and actions.

Discussion Questions

Chapter 1:

1. What are ways that we can practice interpreting visual rhetoric in our daily lives?

2. How can we recognize differences between visual rhetoric and "simple decorative images", and what characteristcs make a visual rhetorical?

3. Why is it often much easier to see points of persuasion in visuals, rather than actual writing? Why are they so effective?

4. What is meant by "juxtaposes" and what purpose does it serve?

Chapter 2:

1. Where can we find examples of use of logos, pathos and ethnos is our daily lives?

2. Where would use of ethos be inappropriate for a particular audience?

3. What effect does comparing the ethos of one company to another have on both companies?

Hidden Happiness: A Beautiful Reality

Beauty products, weight loss plans, and money scams can be seen on any television channel flipped to today. Great emphasis is put on these ideas of boughten beauty; society wants us to believe that utilizing these things will bring happiness. Is this truly the kind of beauty that creates happiness in our lives? Often, it requires taking a step back and looking at where we can find true happiness to realize what is important. The Sunken Gardens, tucked away in the middle of our bustling city, provide a glimpse of peaceful beauty. E.M. Bair, the park superintendent during the development of the Gardens, led the building project. Inscribed in the roof of the visitor’s dome is Bair’s message: “I expect to make this spot the most beautiful place in the city.”

Indeed, the Sunken Gardens comprise a beautiful space. Lining the concrete steps that are first visible upon entering the garden sway enormous forest green leaves shading beds of tangled greenery that resembles the putting green of a golf course. Tucked beneath the leaves are perfectly trimmed bushes of Coleus, a variety of tiny red, green and violet flowers. Further up the steps, tall green stems extend large purple puffball flowers, much like a magnified dandelion just waiting for a youngster to blow the flowers’ seeds in every direction. Beneath these giants lie full bush plants with leaves of green tinged with brick red; the sunlight causes a fiery reflection. Upward, the September sky is overtaken by leaves of yellows, browns and reds. The impact of fall is evident as fallen leaves whirl around the feet of visitors.

Looking down one of the many worn red brick paths throughout the gardens, tall stone ledges enclose a variety of native grasses, a scene much like that of an open pasture. A small pond in the center of the gardens is especially intriguing; the brick path leads directly there. A distinct fishy smell can be detected in the near proximity of the pond. Beneath lily-pads sprouting pink and yellow flowers swim black-spotted goldfish of every size, and a young boy giggle and point as he watches “the fishies.” He is so easily entertained; happiness comes so naturally from such a simple sight. The scene has such a fairy-tale feel, one could almost expect talking frogs to appear from underneath their lily-pad homes.

The boy’s father scoops him up, and disappointment to see them walk away shows in the faces of visitors smiling at the interaction. Fortunately, another pair of visitors is approaching the pond. An adult woman patiently wheels around an elderly woman in her wheelchair, possibly her mother or even grandmother. The woman is carefully wheeled right up to the water's edge, a smile shining on her face. With her exaggerated pink blush and poufy white hair, she is quite a sight. She’s a cute little lady, a “typical” grandmother. She watches the fish play, smiling with the same innocence as the young boy. It is obvious that these individuals, perhaps three generations between them, are quite similar. They know beauty when they see it; they are quite content with simplicity. Both are perfectly content with the company of their loved ones. One has likely not yet seen the distortion society can put on defining beauty; the other has been a part of that society for a long time and has grown wise as she grew old.

The wheelchair woman and care-giver begin to wheel away and once again onlookers are left with a loss of show. A large fish jumps up and back down into the pond with a splash, and a few cool water droplets spray surprised visitors. In this relaxed atmosphere, they simply laugh at the situation. They must find it’s enjoyable to be in the presence of these simple pleasures, to succumb their worries. So much simple happiness can be found in the faces of these visitors; it seems a kind of different world from outside the gardens. Why does our society put so much emphasis on physical beauty, on how pretty a face is instead of character? Why is it so hard for so many of us to find happiness, when in reality we do not have to look very far at all?

A few meters east of the pond, a brilliant collection of flowers in shades of whites and creams comprise the Healing Garden. Creamy white butter and sugar iris are scattered throughout the area, their greenish-yellow veins leading down to the vines that create the bedding of this exhibit. Among them, white Blushing Bride hydrangeas with a pink tinge and Alba foxglove, creamy with bell-like flowers, are scattered. It is not difficult to see why this is deemed the healing garden; one could easily find themselves searching for spiritual or emotional healing in the midst of this calming garden.

The winding brick path leads away from the Healing Garden. Into many of the bricks is the phrase “In memory of…” and names of loved once lost. A large collection of names, it is obvious many saw the importance of creating a memory of lost loved ones in such a remarkable place. A short ways off the path, the wheelchair woman “parks” in front of a small babbling waterfall. The younger woman reads a sign describing the waterfall, and the elder listens intently as she watches the water splash through the stone and down into the pond. A small pair of purple Minnie Mouse sandals tossed carelessly near the bottom of the waterfall stand out, the owner nowhere in sight. In the distance, a young girl can be heard: “Mommy! Mother! Come here!” A young, barefoot Japanese girl skips toward the waterfall, swinging a small twig in her hand. Two large, swamp green cement frogs “guard” the waterfall on either side, similar to the large limestone lions that can sometimes be seen at driveway entrances. The water splashes over huge rocks; black and green plants scattered among the rocks are hammered on by the pounding water but prove tougher than the force. At the water’s edge, purple hydrangeas sway in the breeze created by the rushing water. Further away from the water, among the ledges of the stairs, tiny red and yellow ornamental pepper plants are scattered.

My mind drifts to the wonder of such a marvelous place, right among us, where visitors can put away their worries and be truly content in their surroundings. Though horns honk and tires skid in the distance, the reality I am facing right now is still, simple and beautiful. Are the owners of those honking horns rushing off to a busy workplace in attempt to make money that never truly satisfies? Do the drivers behind those skidding tires ever slow down, ever look at what is truly important in their lives?

I walk down the brick path that I have grown so fond of to make my way out of the garden. I am reluctant to leave and know I could spend much more time here, but I too fall in to society’s busy trap. As I pull away, I'm aware that I am leaving this beautiful place but that it is not leaving me. Pulling out into busy traffic, I am again part of this busy society that cannot blink for a moment of peacefulness, for a glimpse of simple beauty. It has become quite obvious to me that natural beauty, be it inside or out, is a direct link to happiness that is so often chased in the maze of beauty products and weight loss ads that are supposed to make us happy. Though this area is a beautiful place, we do not have to be surrounded by visual beauty to be happy, we simply have to surround ourselves with those who mean the most in our lives. Perhaps Mr. Bair’s intentions of the Sunken Gardens went deeper than just a beautiful place in the city. Indeed, he gave us that, but perhaps he was well aware of the aspects of life that create true happiness, and wanted to give us a glimpse of this. Maybe he foresaw children giggling over the fishies while their parents relaxed in the shade. Maybe he knew that this small section of magnificence tucked away in the midst of the city would provide a place for the young and old alike to smile at the simple wonders of life, perfectly content with the company and surroundings they are in. The impact the gardens had on me was larger than expected, and I find I am hopeful that I am not the only one to walk away with more appreciation for the things in life that truly create happiness. Perhaps if more of our society could see through the money, looks, and popularity that are “supposed” to create happiness, perhaps if more caught a glimpse of true beauty in the simple wonders of life, our world would be a more beautiful, more enjoyable place to live.

cubing post

1. True beauty is often taken for granted. It is all around us, in close proximity, yet society is too busy to acknowledge. So often we get caught up in “fake beauty” – outside looks, but not necessarily inner beauty. The Sunken Gardens of Lincoln are indeed visual beauty, but very real and thought-provoking. In the midst of the hustle and superficial demands of society, this beauty is right here yet quite possibly overlooked. This observation parallels society as a whole: beauty, true beauty, is all around in simple ways, yet is so often overlooked in search of something more.

2. I, my hometown, and my surroundings are a prime example of this ignorance. I grew up very close to the Niobrara River, in the middle of the Sandhills, with peace and serenity all around. Even with rural surroundings and a relatively slow way of life, we are too busy to really appreciate it. The occasional tourist may come and remind us how much beauty we are surrounded by, and we smile and agree. We go on with our hectic days without giving it much more thought. While I have always loved the area where I grew up, I have not always truly appreciated it.
Residents of my hometown and many others in the presence of very unique surroundings are ignorant and down-right stupid when it comes to taking care of these places. Litter can always be seen lining the banks of the rivers; wild animals native to the area are selfishly poached.

3. The Nature Center located at Pioneers Park is another piece of beauty tucked away in our city. The Nature Center, like the Sunken Gardens, provides a peaceful, natural atmosphere. Much larger than the Gardens, the Nature Center features more wildlife (bison, elk, vultures, wild turkeys, and more). The hiking trails are extensive, while the trails through the Gardens simply meander through the maze of flowers, plants and stone. Both of these places attract many tourists, yet are often overlooked by the locals.

4. The Sunken Gardens came to be because the founders wanted to “create the most beautiful spot in the city.” Indeed, this is a spot of beauty that attracts tourists and a handful of locals. The founders knew that every community needs a place where we can step away from our busy lives and appreciate peace and simplicity. This is the purpose of these Gardens; they are, in a sense, a break from reality. By having such places, perhaps our society can see what is really important; what truly creates happiness.

5. Each part of the Sunken Gardens is certainly connected to each other – each is special, unique and beautiful in their own way – but it is together that they make up the Gardens. Flowers, trees, plants, water, fish, rock… There are unique types of each, but all are intertwined and related. This community works together to achieve greatness.
The people observed at the Sunken Gardens definitely contributed to the observations and response to them. Here these people were, in the middle of Lincoln, taking time to simply be in beauty’s presence. There was no rush, no worries, no tension.

6. The Sunken Gardens are just a small glimpse of the beauty around us that we are unaware of or take for granted. If more individuals took the time out of their schedule to step back and take in the pleasure of the simple beauties of life, perhaps more of our society would be in touch with this simplicity. If we, as a society, were more concerned with the peace and serenity of such simple beauty then superficial beauty, we could take incredible steps of coming together rather than falling apart.