Material Argument Advancing a Theory of Material Argument Craig Hennigan Wayne State University 1
Material Argument
For this paper I advance a theory of material argument.
Essential to the review of literature are to introduce the most
common definitional argument considerations and see how those
factors are accounted for in visual argument theories. I do not
intend to continue the debate as to whether or not visual
argument is a legitimate practice, rather I will make the
assertion that if it is, then material has to be an equally
important accompaniment to the visual. I also look to previous
scholarship about material rhetoric in order to provide a
foundation for an inferential leap to a theory of material
argument. The literature base for material rhetoric has become
more advanced in recent years, but nothing to my knowledge has
been written about the possibility of material argument, so a
significant research gap exists in the literature.
The research question that I intend to answer is if argument
can be fashioned from a material perspective that goes beyond
what the visual can provide. In answering this question I hope
to bring a new perspective to what argument is, as well as show 2
Material Argument
how this perspective can be used in analyzing texts. The paper
will argue that a material perspective can bring a broader
definition to argument by looking at issues of material rhetoric
as points of persuasion in argument.
Literature Review
To begin examining how expansion of the definition of
argument parameters takes place, a good place to start is the
scholarly research surrounding visual argument. Visual argument
makes a leap from argument that is sequential in nature and based
in language toward a view that is less based on strict forms.
Because there has been much work already in the examination of
visual argument, it is natural to see how the expansion can be
acceptable in regard to visual argument in order to meet the same
criteria in a move to material argument.
A parameter worthy of further examination would be the
requirement that reasons be given to support a claim being
advanced. There is much agreement that some reason-giving be a
part of a definition of argument, but how those reasons are
conveyed may be in question. Reasons in argument have been
postulated to have a linguistic component in that there must be a3
Material Argument
statement in language in order to be perceived (Fleming, 1996).
This requirement though can be met in the receiver rather than
the message being sent. Receivers can construct argument from
image and place it into linguistic thoughts without the original
message being carried in such a manner. Putting the focus on the
reception of message is more appropriate for rhetorical studies
when we look at effects but much of the present scholarship still
focuses on the Aristotelian notion of invention. This is a place
where the visual can lack in the overall context of an argument
as issues of arrangement and style become subsets of invention
and delivery. The focus on the speaker and the goals they are
trying to attain rather than the actual consequences of a
rhetorical act can be limiting to the study of rhetoric (Blair,
1999). While the definition can be problematic for a different
view of rhetoric though, there is also the opportunity to re-
think what the describing terms surrounding a definition actually
mean. In essence, it is possible to use the material in many of
the traits describing argument if the restrictive parts of the
definitions are more inclusive of other styles of communication.
Material can best fill in the gaps surrounding arrangement in a 4
Material Argument
visual argument as positionality is interpreted as a visual
arrangement.
One manner in which reasons can be given without language is
through the use of visual image. Scholars of visual argument
believe that images can bring comprehension in the same manner
that discourse can (Birdsell & Groarke, 1996; Shelley, 1996).
Images can tell stories, be persuasive, and be misinterpreted
just like verbal conversations can. This is not to say that
because people will reconstruct a visual argument in a linguistic
sequence that they are alike, quite the contrary. Visual
argument is markedly different from linguistic notions of
argument because it can be both sequential or taken in through a
gestalt (Birdsell & Groarke, 1996; Lake & Pickering, 1998).
There is an embedded enthymeme in a visual image where viewers
believe the image is “real” or at least not fabricated that
cannot be duplicated in a language-based model of argument
(Finnegan, 2001). In that embedded enthymeme, the premise that
is unspoken is that a visual image is a true representation of
reality. This premise is occasionally flawed, however. This
could make the image more powerful as a message and argument. A 5
Material Argument
material version of this enthymeme would be more difficult to
fabricate, although it would also be possible.
The visual image also brings a mode of comprehension and
potent influence that cannot be replicated through linguistic
imagery (Lake & Pickering, 1998). There is a failure though of
the visual to properly address reason giving over a course of
time. Visual images are a gestalt that is not seen as multiple
moments in time, but rather a singular point. This can create
problems when trying to present refutation through visual means.
While the use of film can be a way to show refutation through the
visual there is still the dependence upon verbal accompaniment
with the visual in order to show refutation (Lake & Pickering,
1998). A research gap still exists when attempting to see how
refutation can happen outside the use of the verbal.
One way to allow for an expansion of the meaning of argument
can be by acknowledging the idea that argument is perceived in a
receiver-based view of communication. Argument becomes what is
perceived as argument, rather than what is communicated intended
to be argument. This makes sense in the idea that often people
get into arguments as interactions, or argument2’s and reach a 6
Material Argument
place where there is confusion as to what the point of contention
in the interaction was (O’Keefe, 1977).
This rearranging of message reception moves beyond Marshall
Mcluhan’s famous quotation that “The medium is the message.” A
more accurate statement might be “The medium is a part of the
message not to be ignored.” Where Mcluhan talks about modern day
media, material spans across all eras. How material communicates
can be interpreted as a rhetorical form, and a review of research
of how material rhetoric is understood is worthwhile if a case
for material argument is to be made.
In his analysis of the Monument to Joe Louis statue in
Detroit, Richard Marback (1998) puts forth a notion to view
rhetoric through a material lens. He says that “Meanings are
made, then, through the ways we occupy, and are asked to occupy,
spaces and texts,” (Marback, 1998, p. 86). Rhetorical messages
can be interpreted not only through the visual, but through
placement of texts in relation to surrounding areas. The text of
the Joe Louis fist gains meaning by where it is placed in the
urban space. The statue alone as an image would not have the
7
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same rhetorical meaning as the statue in the presence of the
heart of a postindustrial city.
Placement in urban spaces is noted as important by more
people than Marback, however. Carole Blair and Neil Michel (Blair
& Michel, 2000) continue the work theorizing a material rhetoric
through the Civil Rights Monument in Montgomery, Alabama. Blair
and Michel respond to a reading of the memorial by Daniel
Abramson (1996) that critically reviewed the monument as
promoting a conservative view of the civil rights era. Abramson
looks at the style of the creator of the Civil Rights Monument,
Maya Lin, and notes how her work uses timelines to portray social
struggles of the 1960s. In using the timeline, there is a
restriction of creating a singular narrative to her work,
omitting any other possible readings outside of the populist
version of events portrayed on the monument.
Blair and Michel assert that the placement of the memorial
and other material considerations do quite the opposite and act
as a critique of whiteness. The Abramson reading focused only on
the idea symbolism of using a timeline, while largely ignoring
the rhetorical performance of what was written on it. 8
Material Argument
Additionally, material considerations of the multi-colored
granite (suggesting broad coalitional movements as tactics used
in the civil rights era) and its placement in the sidewalk is a
disruptive “black body” forcing acknowledgement. Another
placement issue in the urban setting of downtown Montgomery is
significant as it is nearby to many remembrances and tributes to
the white establishment and the former Confederacy.
The contradictory readings of the same text could be looked
at as a point that Fleming might make as to why the material
would have difficulty in sustaining a coherent argument.
However, contradictory readings of the same text is nothing new
in rhetorical scholarship. The second Lincoln inaugural comes to
mind as a point of contention based upon the cultural makeup of
separate audiences of the address (Ceccarelli, 1998). This
actually reinforces the notion of the use of space, or at the
very least the placement of the audience is integral to gain a
better understanding of what a particular text means.
Additionally, it is because more can be derived when material
considerations are taken into account that they should be
recognized as pieces of a text that have the ability to persuade.9
Material Argument
While museums and monuments help to construct public memory,
there are other more personal spaces involved with material
rhetoric as well. It would seem that the occupation and use of
space is very complementary to material rhetoric. How the body
takes up space in a material way contributes many connections to
other rhetorical theories (Forbes, 2000). Material also has
linkages with individual memories as well (Rohan, 2004).
Scrapbooking, journal entries, collection of photographs or
mementos can all be linked to an attempt to remember events or
people of the past. In this sense, those materials perform a
rhetorical act by symbolically representing memories or people
that are not present. Material rhetoric can affect memories and
records of people on the margins through its emphasis of
reception theory rather than focusing on the rhetor giving
material focus a liberatory potential. Marginalized groups are
often shut out of conversations when research focuses on rhetors
from dominant classes although the view of the material can be
looked at in a more economic or Marxist analysis under this
interpretation (Collins, 1999).
10
Material Argument
Victoria Gallagher and Margaret LaWare (2010) continue to
show how the material can bring more conscious meaning to a
particular text. Once again, they look to the Monument to Joe Louis
to show how theory surrounding materiality can enrich our
understanding of other concepts like public memory. When
assessing Marback’s work and applying it to other theoretical
concepts, there is increased standing given to the idea that the
material means something more than the composition of the
aesthetic piece. In this case, the focus on placement is front
and center, so rhetorics of urban spaces become prominent. It is
here that I would like to begin my analysis of how we can look to
material rhetoric as a stepping stone into the realm of argument
through materiality.
I intend to use two texts for this analysis. One from a
very controversial artist who uses unconventional medium in order
to present a countercultural argument. Second a text regarding
urban space and how it creates argument regarding the
epistemological construction of the city of Detroit. When
reading these material texts, the visual is a part of how the
argument is formulated, but it will not be a privileged aspect. 11
Material Argument
Use of urban space as an argument may entail many sensory traits
as a part of the argument, from the sights, sounds, smells, and
even theorized senses of “place” that we don’t typically
recognize as among the human senses. Along this reading,
justifications for how the material of the text can function
along various definitions of argument will also support the idea
that with material rhetoric come material arguments. Where to
divide these fields at is of lesser concern to the theoretical
nature of this paper, and future scholarship is welcome to
attempt to divide that line. For our purposes it is better to
theorize that material argument can exist, and then progress from
there.
Andres Serrano’s material art
Material in some form surrounds us all. From the air
we breathe, to the food we eat, there is no doubt that material
is a part of our lives. These statements are profoundly obvious,
but in many ways, material is taken for granted. People observe
the great works of art as what as what is produced in a specific
medium, with little regard to the meaning of a particular medium.
Artist Andres Serrano is an exception to that rule. His works 12
Material Argument
place the material of his art as a focal point of the work.
Controversial works such as “Piss Christ” and “Blood and Semen”
were dually praised and reviled in artistic and political
communities (“Andres Serrano’s controversial ‘Piss Christ’ to be
displayed in New York,” 2012).
While Serrano placed the material of his work in the center
of his art, unless the focus of an artist is strictly on medium,
the communicative message is often relegated as secondary. When
communicative messages are outside of aesthetic forms then
concerns over material drop more dramatically. There is little
concern for what a communication is made of rather than what it
tries to convey. Overlooking material though when analyzing
communication leaves out a portion of a message that may have
influence on meaning.
Where Serrano messages with material, the placement of the
material also carries meaning. In his work “Piss Christ” a
crucifix is placed into a jar of urine. Where the crucifix is
placed has an effect on the message of the work. Placing the
crucifix in front of the jar may carry a far different meaning
than placing it inside the jar. Thinking upon placement, there 13
Material Argument
is more to the material than just the composition of matter. The
use of spaces also has to be interpreted in ways that communicate
in conjunction with material and message.
There is argument though in Serrano’s work, not only message
to create meaning. Artist Eugenio Merino (2011) reviews “Piss
Christ” saying:
In ‘Piss Christ’, Andres Serrano casts doubt on belief and
purity. And it is this doubt which ‘offends’, since religion
is based on dogma and absolute certainty. This year, the
piece was attacked in the Contemporary Art Museum in Avignon
and slashed beyond recovery by a number of Catholic
demonstrators. This is a violent, anti-democratic stance,
typical of totalitarian groups that only allow a single
vision of the world. Absolute certainty (p. 75).
Merino says that the meaning of this piece is only realized
when reading the title. There is symbiosis with visual text as
well as verbal text combining to make argument. Birdsell and
Groarke (1996) suggest that this combination together reduces the
uncertainty of both the verbal and the visual thus making a case
for the visual to be interpreted as argument. However, in the 14
Material Argument
case of Serrano, the material must be a part of the argument as
well. Should the picture in “Piss Christ” not actually be
composed of the urine of Serrano, then the verbal message creates
uncertainty (possibly deception) rather than assisting to remove
uncertainty. Rather than casting doubt on purity, it reaffirms a
euphemism that Merino says is exactly what this piece is
critiquing:
We live in a society that is adopting the ideology of the
politically correct and are becoming wary of expressing
ourselves for fear of causing offence. Euphemism has become
established as a way of repressing ideas, and the meaning of
things is becoming diluted. For this reason, beauty is not
enough. Art should not be a pleasant, beautiful escape
mechanism. It should not be a euphemism covering over the
holes in society, but the light that makes us reflect upon
that society. That is why art is and will always be
uncomfortable for the system. Art must move closer to
activism rather than to the purely aesthetic. There is no
aesthetic without ethics (p. 75).
15
Material Argument
Previous definitions of argument can explain how the
material operates in this piece as well. Under the
interpretations of argument1 and argument2 by O’Keefe (1977), the
material is a “communicative act” (p. 121) in the sense of
argument1. The interaction required for argument2 does not really
exist in a bidirectional fashion from material to audience and
back again. Although because of the communicative act, there was
certainly a response from the audience as this piece was
irreparably vandalized by Catholic activists (Merino, 2011).
If the aim of argument is to reform beliefs, as Ehninger
(1970) suggests, then once again the use of this material
confirms its importance in argument. Meaning behind the art from
Merino indicates that there is a correction that is attempted by
Serrano.
Also important, and drawing upon research into rhetoric of
bodies, is the magnitude of a material argument. The “Blood and
Semen II” is composed of the literal blood and semen of Serrano.
The work spans three feet by five feet (Moscrop, 2001). It is
not an insignificant amount of Serrano’s biological pigment that
is used to generate this art piece. Visual portrayals alone 16
Material Argument
cannot account for the material experience of beholding such a
large portrait while carrying the knowledge of what the “paint”
is made of. This magnitude enhances the validity of the argument
that Serrano is making, that society is in need of a literal and
honest view of the shocking in order to understand itself.
Brightmoor Gardens
Brightmoor is a neighborhood in Detroit, Michigan noted for
crime and economic disadvantage (Hackney & Tanner, 2011). The
neighborhood has many abandoned and foreclosed homes, prostitutes
and drug dealers operating in the daytime, and illegal dumping
happening in the community. Recently, there has been a boom in
urban agriculture in Detroit, as there is an abundance of empty
lots across the spacious city. Brightmoor is home to some of
these gardens.
The positioning of urban gardens in Brightmoor has called
into question how rust belt postindustrial cities are defined in
the minds of occupants and outsiders. Usage of urban space to
perform what typically thought of as rural activities creates an
opportunity to rethink what it means to be an urban dweller. The
visual of the garden among urban settings as well as blighted 17
Material Argument
buildings (aka urban “ruins”) create a natural conflict of
narrative regarding the city. There is heavy emphasis on the
positionality of these gardens in order to create an argument
that would break down the dominant perspective of the post-
industrial.
Although it has been avoided thus far, some photographs may
help to enhance our understanding of some of the material
elements in this argument. Figure 1 depicts one of the
Brightmoor gardens positioned in a lot of a burned out home. The
home has been decoratively and playfully painted as a burned out
window turns into a mouth for a face and a sign declaring the
words “Peace, Faith, Joy, Hope, Passion, Thanks, Love” sits on
the porch. In front of the burned out home is a garden. The
garden is surrounded by caution tape, not unlike the police tape
that someone might expect to find in this community.
Community gardening in Detroit, unlike certain other places,
focus on food production rather than beautification. There is
significance in that choice that has everything to do with the
location of these gardens. Detroit has been called a “food
desert,” or a place where mainstream grocery stores are difficult18
Material Argument
for inner city residents to find. This moniker may or may not be
justified, and media has argued this issue in the past (“Detroit
Truck Responds To City’s Food Desert Crisis : NPR,” 2010;
Oosting, 2011), but regardless the growth of food in the urban
area serves to debunk the myth or combat the crisis. The garden
in this case is well kept, but not producing flowers or
decorative shrubs. In a neighborhood plagued by crime, there is
no fenced, no locks and no protection from theft or vandalism
whatsoever. The gardens are arguments as well as actions against
the media narrative of food deserts. It is a way to respond to
the dominant theme that mainstream grocers are needed in order to
properly feed people. The gardens then have anti-capitalist
undertones as people are encouraged to simply come and eat what
is grown rather than wait until it is on a store shelf.
In this case there is not only an argument being made, but
an argument2 as interaction between the two conflicting
narratives continues over time. During the planting of the
garden, the house was burned out and not in use. As the garden
grows, the appearance of the house improves. Every new plant in
front of the house is a new reason in the argument. Every new 19
Material Argument
piece of art painted on the house is a reason in the argument as
well. And every piece of the house that collapses, or is burned,
or decays, are reasons to the opposing view of the argument.
While it still is likely not structurally sound, there is now
decoration. Decoration exists on the otherwise destroyed house,
but the garden is strictly business. The garden needs no
ornamentation; its presence in the neighborhood is ornamentation
for that urban space. As the garden grows, challenging the post-
industrial blighted neighborhood meme, the home answers back with
collapsing pieces of the roof. The people running the garden
then create artistic pieces to place on the house. The garden is
winning this tactical argument of revitalization. It is an
argument in a very figurative sense, as a mental agreement
between the parties of the house and the garden cannot be
established. That mental agreement is what O’Keefe (1977) says
has to exist for there to be knowledge that an argument is taking
place. However, the spectator of this figurative argument2 makes
an independent judgment as to whether or not the house and the
garden are in this interaction.
20
Material Argument
Another place where the material is a necessary part of an
argument being made is at another garden in Brightmoor. The
garden (Figure 2 and 3) is labeled as “Brightmoor’s Brightest
Edible Playscape.” Children are encouraged to play at this
garden while tasting the fruits and vegetables that are growing
around them. Figure 3 has what is called the “Sunflower House”
that has hay bales surrounded by sunflowers in a circular growing
“structure” (“Youth Ministries Blog,” 2011).
The argument being made is to rethink what it means to have
a play area for children. There are environmental overtones
where playscapes do not have to be built of wood, plastic, and
steel, but rather they can be grown from the ground, and eaten!
The visual can never fully deploy this argument on its own as an
integral proof of this argument lies in its ingestion. A sign
can say that something is edible, and the argument can be made
visually, however the proofs behind the argument lie in the
material makeup of the garden.
Lastly, the gardens make an argument about what it means to
be an urban dweller. The themes of urbanity where swaths of land
are covered in a concrete jungle are broken down as gardens grow 21
Material Argument
under the shadow of skyscrapers. This is a literal
interpretation in the case of Lafayette Gardens, a project
undertaken by Compuware corporation (Lingholm, 2011). More of
these gardens are popping up downtown nestled between 15 story
buildings and donating the food to charitable organizations. In
urban areas, particularly downtown areas, space is a premium.
Space is commodified and sold for large amounts of money in what
a late capitalist system considers “successful.” Detroit gardens
break down that notion by creating green spaces that provide no
surplus value, rather they work toward a charitable goal. While
it could be argued that the sponsorship of these areas carry a
value of corporate goodwill toward people that will eventually be
turned back into profit, the use of a highly valuable downtown
property would not be necessary in order to make that case.
Something else is going on in the formulation of what it means to
be an urban citizen.
The garden is a symbol of independence and separation from
the rest of the state, nation, and world. Gardens make
statements that sustainability in urban areas is possible through
management of spaces and rethinking the actions that an urban 22
Material Argument
dweller takes. Actions of rural farmers are not relegated to the
rural areas. In an age of factory farming, the urban farm
retakes holistic qualities of the old rural image and
reappropriates them inside the city. This is a form of
constitutive rhetoric that takes the signs and discourses of the
rural to articulate a new urban identity and culture (Deluca,
2008). The urban space provides a unique place to provide this
argument and reshaping of the urban identity. The garden in a
suburban backyard is not a surprise, nor does it have the same
argumentative goal of the garden in a run-down neighborhood, or
burrowed in between large office buildings.
Conclusion
The material is an integral part of many arguments. As
innovative ways to portray argument is employed, the material may
become a more prevalent part of reading how argument operates.
New research into areas such as argument using bodies may be
considered a part of the material, as bodies are made up and
contend with matter itself. The civil rights monument being
compared to a “black body” supports the idea that bodies are a
specialized part of the material. Arguments consisting of usage 23
Material Argument
in urban spaces are a part of the material. Issues surrounding
positionality and magnitude are informed by the material.
While the material may not be able to conduct an interaction
on its own, it can be a part of or an embodiment of interaction
to be witnessed. The material cannot be separated other parts of
the visual in an argument. While current scholarship in argument
studies focus on the Aristotelian canon of invention, a focus on
material can uncover more about how arrangement can be a part of
argument.
Urban spaces and position is one way that argument is
conducted through material. Another is through the magnitude of
material making arguments. Items that are “larger than life” or
scaled to a smaller size change the message and the argument
being made through material. Material argument also has
possibilities to approach enactment of argument in a real world
setting that is more difficult to fabricate than a visual
representation alone.
For argument scholars, there seems to be an ever expanding
boundary surrounding what is and what is not argument. The use
of material can beg the question of where argument is not to 24
Material Argument
expose how the discipline may need more stringent standards.
However it is always going to be the better option to define in
an inclusive manner of where argument is rather than to ignore
the possibilities of new forms of argument to study. The
importance of accuracy in finding what kinds of arguments exist
should take precedence over any concerns about creating borders
around the field. If argument is everywhere, perhaps academics
should embrace that notion and begin to ask the question of why
we perceive argument to be everywhere, rather than bemoan the
idea that it may be damaging to the field of study to have such a
broad area. An expansion of the field doesn’t necessarily
require a rethinking of what we define as argument previously,
but rather a rethinking of how the parameters of those
definitions are perceived.
25
Material Argument
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