Sixth Sense Technology Introduction

Sixth Sense Technology Introduction Abstract: ‘Sixth Sense is a wearable gesture interface that augments the physical world around us with digital information and lets us use natural hand gestures to interact with that information. This technology will definitely give the user a new way of seeing the world with information at their fingertips it has been classified under the category ‘wearable computing’. The true power of Sixth Sense lies on its potential to connect the real world with the Internet, and overlaying the information on the world itself. The key here is that Sixth Sense recognizes the objects around you, displaying information automatically and letting you access it in any way you want, in the simplest way possible. This paper gives you just introduction about sixth sense. This paper makes you familiar with sixth sense technology which provides freedom of interacting with the digital world using hand gestures. The sixth sense prototype is comprised of pocket projector, a mirror, mobile components, color markers and a camera. The sixth sense technology is all about interacting to the digital world in most efficient and direct way. Sixth Sense devices are very much different from the Computers; this will be a new topic for the hackers and the other people also. Everyone can get general idea of sixth sense technology by look at this paper. Keywords: Sixth Sense, wearable computing, Augmented Reality, Gesture Recognition, Computer Vision __________________________________________________________*****_________________________________________________________ 1. INTRODUCTION We’ve evolved over millions of years to sense the world around us. When we encounter something, someone or some place, we use our five natural senses which include eye, ear, nose, tongue mind and body to perceive information about it; that information helps us make decisions and chose the right actions to take. But arguably the most useful information that can help us make the right decision is not naturally perceivable with our five senses, namely the data, information and knowledge that mankind has accumulated about everything and which is increasingly all available online. Although the miniaturization of computing devices allows us to carry computers in our pockets, keeping us continually connected to the digital world, there is no link between our digital devices and our interactions with the physical world. Information is confined traditionally on paper or digitally on a screen. Sixth Sense bridges this gap, bringing intangible, digital information out into the tangible world, and allowing us to interact with this information via natural hand gestures. ‘Sixth Sense’ frees information from its confines by seamlessly integrating it with reality, and thus making the entire world your computer. All of us are aware of the five basic senses – seeing, feeling, smelling, tasting and hearing. But there is also another sense called the sixth sense. It is basically a connection to something greater than what their physical senses are able to perceive. To a layman, it would be something supernatural. Some might just consider it to be a superstition or something psychological. But the invention of sixth sense technology has completely shocked the world. Although it is not widely known as of now but the time is not far when this technology will change our perception of the world. Fig. 1.1: Six Senses Sixth Sense is a wearable â€Å"gesture based† device that augments the physical world with digital information and lets people use natural hand gestures to interact with that information. Right now, we use our devices (computers, mobile phones, tablets, etc.) to go into the internet and get information that we want. With Sixth Sense we will use a device no bigger than current cell phones and probably eventually as small as a button on our shirts to bring the internet to us in order to interact with our world! Sixth Sense will allow us to interact with our world like never before. We can get information on anything we want from anywhere within a few moments! We will not only be able to interact with things on a whole new level but also with people. One great part of the device is its ability to scan objects or even people and project out information regarding what you are looking. 1.1 History and Evolution of Sixth Sense Technology Steve Mann is father of sixth sense who made a wearable computer in 1990. The Sixth Sense Technology was first implemented as the neck worn projector + camera system. He was a media lab student at that time. There after it was used and implemented by an Indian who is the man has become very famous in the recent Pranav Mistry. There will be a long future rather than the short period of history for the Sixth Sense technology. 1.2 Why choose Sixth Sense Technology This sixth sense technology provides us with the freedom of interacting with the digital world using hand gestures. This technology has a wide application in the field of artificial intelligence. This methodology can aid in synthesis of bots that will be able to interact with humans. This technology enables people to interact in the digital world as if they are interacting in the real world. The Sixth Sense prototype implements several applications that demonstrate the usefulness, viability and flexibility of the system [4]. 2. CONSTRUCTION AND WORKING The Sixth Sense prototype comprises a pocket projector a mirror and a camera contained in a pendant like, wearable device. Both the projector and the camera are connected to a mobile computing device in the user’s pocket. The projector projects visual information enabling surfaces, walls and physical objects around us to be used as interfaces; while the camera recognizes and tracks users hand gestures and physical objects using computer-vision based techniques. The software program processes the video stream data captured by the camera and tracks the locations of the colored markers (visual tracking fiducials) at the tip of the user’s fingers. The movements and arrangements of these fiducially are interpreted into gestures that act as interaction instructions for the projected application interfaces. Sixth Sense supports multi-touch and multi-user interaction. Fig. 2.1: Sixth Sense Technology Working 3. TECHNOLOGIES THAT ARE RELATED TO SIXTH SENSE DEVICES 3.1. Augmented Reality The augmented reality is a visualization technology that allows the user to experience the virtual experience added over real world in real time. Augmented reality adds graphics, sounds, hepatic feedback and smell to the natural world as it exists [3]. 3.2. Gesture Recognition It is a technology which is aimed at interpreting human gestures with the help of mathematical algorithms. Gesture recognition technique basically special type of hand gloves which provide information about hand position orientation and flux of the fingers [3]. 3.3. Computer Vision Computer Vision is the technology in which machines are able to interpret necessary information from an image. This technology includes various fields like image processing, image analysis and machine vision. It includes certain aspect of artificial intelligence techniques like pattern recognition [3]. 3.4. Radio Frequency Identification Radio Frequency Identification systems transmit the identity of an object wirelessly, using radio magnetic waves. The main purpose of this technology is to enable the transfer of a data via a portable device. This technology is widely used in the fields like asset tracking, supply chain management, manufacturing, payment system etc [3]. 4. APPLICATIONS The Sixth Sense device has a huge number of applications. The following are few of the applications of Sixth Sense Technology:- 4.1. Viewing Map: With the help of a map application the user can call upon any map of his/her choice and navigate through them by projecting the map on to any surface. By using the thumb and index fingers movements the user can zoom in, zoom out or pan the selected map[2]. Fig -4.1: Viewing Map 4.2. Taking Pictures: Another application of Sixth Sense devices is the implementation of a gestural camera. This camera takes the photo of the location user is looking at by detecting the framing gesture. After taking the desired number of photos we can project them onto any surfaces and then use gestures to sort through those photos and organize and resize them[2]. Fig 4.2: Taking Pictures 4.3. Drawing Application: The drawing application allows the user you to draw on any surface by tracking the fingertip movements of the user’s index finger. The pictures that are drawn by the user can be stored and replaced on any other surface. The user can also shuffle through various pictures and drawing by using the hand gesture movements[2]. Fig -4.3: Drawing Application 4.4. Making Calls: We can make calls with the help of Sixth Sense device. The Sixth Sense device is used to protect the keyboard into your palm and using that virtual keypad we can make calls to anyone[2]. Fig -4.4. Making Calls 4.5. Interacting with Physical Objects: The Sixth Sense system also helps to interact with physical objects we use in a better way. It augments physical objects by projecting more information about these objects projected on them. For example, a gesture of drawing a circle on the user’s wrist projects a watch on the user’s hand. Similarly a newspaper can show live video news or dynamic information can be provided on a regular piece of paper[2]. Fig -4.5: Watching News 4.6. Flight Updates: The system will recognize your boarding pass and let you know whether your flight is on time and if the gate has changed[2]. Fig 4.6: Flight Updates 4.7. Other Applications: Sixth Sense also lets the user draw icons or symbols in the air using the movement of the index finger and recognizes those symbols as interaction instructions. For example, drawing a magnifying glass symbol takes the user to the map application or drawing a à ¢Ã¢â€š ¬Ã¢â‚¬ ¢@à ¢Ã¢â€š ¬- symbol lets the user check his mail[2]. 5. KEY FEATURES OF SIXTHSENSE Sixth Sense is a user friendly interface which integrates digital information into the physical world and its objects, making the entire world your computer. Sixth Sense does not change human habits but causes computer and other machines to adapt to human needs. It uses hand gestures to interact with digital information, supports multi-touch and multi-user interaction. Data access directly from machine in real time. It is an open source and cost effective and we can mind map the idea anywhere. It is gesture-controlled wearable computing device that feeds our relevant information and turns any surface into an interactive display. It is portable and easy to carry as we can wear it in our neck. The device could be used by anyone without even a basic knowledge of a keyboard or mouse. There is no need to carry a camera anymore. If we are going for a holiday, then from now on wards it will be easy to capture photos by using mere fingers CONCLUSION As this technology will emerge may be new devices and hence forth new markets will evolve. This technology enables one to account, compute and browse data on any piece of paper we can find around. Sixth Sense devices are very much different from the computers; this will be a new topic for the hackers and the other people also. First thing is to provide the security for the Sixth Sense applications and devices. Lot of good technologies came and died due to the security threats. There are some weaknesses that can reduce the accuracy of the data. Some of them were the on palm phone keypad. It allows the user to dial a number of the phone using the keypad available on the palm. There will be a significant market competitor to the Sixth Sense technology since it still required some hardware involvement with the user. REFRENCES http://www.pranavmistry.com/projects/sixthsense/ http://dspace.cusat.ac.in/jspui/bitstream/123456789/2207/1/SI XTH%20SENSE%20TECHNOLOGY.pdf http://en.wikipedia.org/wiki/SixthSense http://www.engineersgarage.com/articles/sixth-sense-technology http:/www.ted.com/talkspranav_mistry_the_thrilling_potential_of_sixthsense_technology.html

Old Verities and Truths of the Heart in Writing :: Writing Authors Faulkner Essays

Old Verities and Truths of the Heart in Writing In his Novel Prize Address, Faulkner states that an author must leave "no room in his workshop for anything but the old verities and truths of the heart...love and honor and pity and pride and compassion and sacrifice." He accuses his younger contemporaries of ignoring these noble spiritual pillars while pondering the atomic doom of mankind with questions like, "When will I be blown up?" Such physical fears, far from conflicts of the heart, are what plague his bomb-obsessed contemporaries. Yet Faulkner stands, seemingly alone, in opposition to this weakness; he "decline[s] to accept the end of man" and in rebelling, fights for the old universal truths and the glories of the past. In classical style, he brushes away passing fears and fads, settling for nothing less than the "problems of the human heart in conflict with itself." Nothing else is worth writing about and Faulkner's work is living proof. The characters in Light in August are full of the conflicts and virtues Faulkner describes in his speech. In Lena, Hightower, and Christmas, one can find endurance, sacrifice, and honor. In other characters, such as Byron Bunch, the main ingredient is hope. Yet regardless of who he is describing, Faulkner does not forget that only the ancient feelings innate in humanity, those in the soul, are worthwhile. Hope and Love: Hope is one of Faulkner's favorite spices for cooking his characters. It is perhaps the most human of all emotions in that it is fragile like the body, but at the same time all powerful like the spirit. Lena Grove and Byron Bunch both have an endless amount of hope for the same thing: love they have never received. Hope brought her from Alabama to Mississippi in search of her runaway Lucas. Likewise, hope will carry Byron wherever Lena goes until he can find her love. Lena's hope is visible in her face, "[she] walked into the door behind him [Byron], her face already shaped with serene anticipatory smiling, her mouth already shaped upon a name" (p.50). She searches from town to town for her lost love, and in each new place renews her hope with a serene smile. Byron's hope, however, manifests itself quite differently. "There was something funny and kind of strained about him," is how the furniture repairer describes Byron (p.498). His hope is ashamed and choking; it gnaws at him trying to manifest itself with a feeble attempt in the back of a truck. Old Verities and Truths of the Heart in Writing :: Writing Authors Faulkner Essays Old Verities and Truths of the Heart in Writing In his Novel Prize Address, Faulkner states that an author must leave "no room in his workshop for anything but the old verities and truths of the heart...love and honor and pity and pride and compassion and sacrifice." He accuses his younger contemporaries of ignoring these noble spiritual pillars while pondering the atomic doom of mankind with questions like, "When will I be blown up?" Such physical fears, far from conflicts of the heart, are what plague his bomb-obsessed contemporaries. Yet Faulkner stands, seemingly alone, in opposition to this weakness; he "decline[s] to accept the end of man" and in rebelling, fights for the old universal truths and the glories of the past. In classical style, he brushes away passing fears and fads, settling for nothing less than the "problems of the human heart in conflict with itself." Nothing else is worth writing about and Faulkner's work is living proof. The characters in Light in August are full of the conflicts and virtues Faulkner describes in his speech. In Lena, Hightower, and Christmas, one can find endurance, sacrifice, and honor. In other characters, such as Byron Bunch, the main ingredient is hope. Yet regardless of who he is describing, Faulkner does not forget that only the ancient feelings innate in humanity, those in the soul, are worthwhile. Hope and Love: Hope is one of Faulkner's favorite spices for cooking his characters. It is perhaps the most human of all emotions in that it is fragile like the body, but at the same time all powerful like the spirit. Lena Grove and Byron Bunch both have an endless amount of hope for the same thing: love they have never received. Hope brought her from Alabama to Mississippi in search of her runaway Lucas. Likewise, hope will carry Byron wherever Lena goes until he can find her love. Lena's hope is visible in her face, "[she] walked into the door behind him [Byron], her face already shaped with serene anticipatory smiling, her mouth already shaped upon a name" (p.50). She searches from town to town for her lost love, and in each new place renews her hope with a serene smile. Byron's hope, however, manifests itself quite differently. "There was something funny and kind of strained about him," is how the furniture repairer describes Byron (p.498). His hope is ashamed and choking; it gnaws at him trying to manifest itself with a feeble attempt in the back of a truck.

Herr Samsa Is Content Essay

In ‘Metamorphosis’ by Franz Kafka, Gregor Samsa, the main character turns into an insect. Although many would argue that this transformation is literal, I would argue that Kafka uses it as a metaphor or some other form of symbol. If my theory is right, this metaphor is used as a means of portraying the dehumanisation and hence insanity of Gregor Samsa caused by the intense stress and demands of his daily job that he worries about so much. I also believe that Kafka uses the particular case of Gregor to represent a whole generation of workers that all fear the same fate. Herr Samsa, Gregor’s father, in particular fears this and having seen what he fears most in his son, he becomes violent and aggressive towards him; eventually delivering him a slow, gradual death. To support this argument, we find out that, even before the actual transformation, Gregor behaves strangely with regards to his work; studying train timetables for example. It is for this reason that I have decided to carry on with this idea. With Gregor dying at the end of the novella, I decided to use this metaphor of dehumanisation again and apply it to another one of the workers of the same generation as Gregor’s – his sister’s boyfriend that she has found since the Samsa family left their home to start a new life. In order for my adaptation of Kafka’s extended metaphor to be successful, I have had to adopt his style of writing, something that is very particular to Kafka. Kafka uses long sentences yet keeps the novella moving at quite a fast pace. This is because he pays great attention to detail and turns each detail into something significant. Despite this, he is not particularly descriptive concerning the settings that he has chosen in Metamorphosis. This has the particular effect of rendering the scenes of ‘Metamorphosis’ full of action and gripping for the reader. This is what I have tried to apply in my extension of Kafka’s fantastic tale. Grete watched her father open the door, pull his feet across the mat, throw his overcoat off his shoulders and drop it on the banister. He took both his daughter’s shoulders, smiled at her for a moment with an expression that could only be associated with pride and then gently kissed her forehead. He then moved on to the kitchen, Grete in his footsteps. Once there, he placed his hand on his wife’s shoulder, squeezed it, asked her what was for supper and, in turn, kissed her. Herr Samsa presently moved to the living room and with a pleasant sigh of relief he settled into an armchair and watched in amusement as Grete gazed fixedly at the clock on the wall counting down the seconds. At precisely five, the doorbell rang and Grete let out a little squeal of delight before glancing sheepishly at her father and rushing off to answer it. The same routine had not changed one bit for the last two months yet Herr Samsa could not complain. He knew that five was the time when he could afford himself the pleasure of watching his daughter’s face light up, making her even more beautiful; reminding him of the attractive and successful woman she was turning into. He had never been happier. Simple and polite but pleasant conversation came from the kitchen – a mixture of questions, exclamations and quiet laughter. Following this, Grete entered with Franz who greeted Herr Samsa with a gentle inclination of his head. â€Å"Ah! Franz my son! How are you? And how are things at work?† asked Herr Samsa. â€Å"Well, as you know sir, not too well I’m afraid. We all have a ridiculous amount of work to get through and I, for one, can hardly cope. The only thing that keeps a smile on my face is the prospect of coming to visit your daughter each evening.† Grete looked up at him adoringly and smiled before turning to her father with a face that begged no more talk of work matters. Accepting this, Herr Samsa looked at them both. â€Å"Very well. Off you go.† â€Å"Thank you, sir† replied Franz and he eagerly scuttled behind the beautiful young woman who led him to the parlour. Herr Samsa got up and poured himself a small glass of schnapps and settled back down into the warmth of his armchair. As he let his eyes close, he reflected upon how much better life was now. Even going back to work didn’t bother him in the least. He felt healthier and fitter than he had been in a long time and he was now always able to join in with the family walks on Sundays. Franz also came with them. The four of them would walk with their arms linked, talking and laughing with a spring in their step. Thus half an hour passed very happily for Herr Samsa before he was called to join the rest of his family at the dinner table. Grete was rather sullen right throughout the meal. Her usual manner of vigorously attacking her food was not there. Eventually, whilst Grete’s mother was in the kitchen, clearing the table, he asked her what the matter was. She dismissed the question with another intense stare at the table so her father thought it best to leave the matter alone. The next evening, the atmosphere at the dinner table was tense once again. Grete insisted on glaring sullenly at her plate. Again, Herr Samsa asked her what the matter was whilst his wife was busy in the kitchen. Once more, she tried to ignore him but this time, her father insisted and she lifted her face, covered in tears, before answering. â€Å"He’s exhausted†¦I can’t stand it anymore†¦he puts on a brave face†¦but with me†¦Ã¢â‚¬  She desperately tried to control herself but burst into tears. Frau Samsa, who had come back into the room, put her arm round her and encouraged her to go on. Grete’s parents watched, bemused and shocked, for this was the first time they had seen her cry since they’d decided to restart their lives. Seeing the discomfort in her parents’ faces, Grete took a deep breath and started again. â€Å"He doesn’t complain about it but when we’re alone, he talks about nothing but work, almost as if he doesn’t know how to talk about anything else. Just last night, instead of talking to me, he spent two whole hours studying a train timetable! And he’s developed a regular twitch†¦spasms every now and then. He’s not really†¦my Franz†¦anymore.† The following evening, nothing changed. As always, Herr Samsa was met in the hallway by his daughter whom he embraced before making his way to the kitchen, in order to greet his wife. As Grete waited for the clock to approach five, she had the same anxious look on her face. But it faded and was replaced with a frown because as the hands hit five she heard a far-off cry. She glanced at her father but he obviously hadn’t heard it and so she continued waiting. She was silently surprised that Franz hadn’t turned up yet, despite the fact that it wasn’t even a minute past yet. As she continued waiting, now perched on the arm of one of the sofas, she heard another cry, closer this time and it resembled more a scream. Yet again, Herr Samsa had not noticed but he was watching Grete with amusement as she visibly became more and more nervous as the minutes went by. Once again, a scream came from up the road. This time, it was accompanied by the smashing of a window. Grete rushed to the living room window and pressed herself up against the window to see what was going on. The last cry had even managed to reach her father and he too had jumped out of the comfort of his chair to see what was going on. Both wore anxious looks upon their faces and as more shouts of terror approached their house, Frau Samsa joined them from the kitchen, wiping the backs of her hands in her apron as she walked. â€Å"Where’s Franz?† she asked immediately. A look of horror crossed Grete’s face as it occurred to her that the angry manifestation outside and Franz’s lateness could be linked. She tried desperately to see what was going on through the living room window but the angle wasn’t wide enough. A couple of flying stones and an apple came into her field of vision and with that she rushed to the front door with both her parents close behind her. It was as she grabbed the cold brass handle to pull the door open that she realised what this was. She remembered the conversation last night at the table and, sure enough, as she hastily poked her head through the door and looked down the street, she clasped her heart. Franz was there sure enough, scuttling desperately down the street, followed by an angry mob yelling at him in disgust and flinging stones of hatred at him. Before her parents were able to see anything, she ran back in, bolted the door and sunk to the floor. Bibliography à ¯Ã‚ ¿Ã‚ ½ Metamorphosis, Franz Kafka, translated by Malcolm Pasley, Penguin, 2000

Rhetorical Analysis Definition and Examples

Rhetorical analysis is a form of criticism or close reading that employs the principles of rhetoric to examine the interactions between a text, an author, and an audience. Its also called rhetorical criticism or pragmatic criticism. Rhetorical analysis may be applied to virtually any text or image—a speech, an essay, an advertisement, a poem, a photograph, a web page, even a bumper sticker. When applied to a literary work, rhetorical analysis regards the work not as an aesthetic object but as an artistically structured instrument for communication. As Edward P.J. Corbett has observed, rhetorical analysis is more interested in a literary work for what it does than for what it is. Sample Rhetorical Analyses A Rhetorical Analysis of Claude McKays AfricaA Rhetorical Analysis of E.B. Whites The Ring of TimeA Rhetorical Analysis of U2s Sunday Bloody Sunday Examples and Observations Our response to the character of the author—whether it is called ethos, or implied author, or style, or even tone—is part of our experience of his work, an experience of the voice within the masks, personae, of the work...Rhetorical criticism intensifies our sense of the dynamic relationships between the author as a real person and the more or less fictive person implied by the work.(Thomas O. Sloan, Restoration of Rhetoric to Literary Study. The Speech Teacher)[R]hetorical criticism is a mode of analysis that focuses on the text itself. In that respect, it is like the practical criticism that the New Critics and the Chicago School indulge in. It is unlike these modes of criticism in that it does not remain inside the literary work but works outward from the text to considerations of the author and the audience...In talking about the ethical appeal in his Rhetoric, Aristotle made the point that although a speaker may come before an audience with a certain antecedent rep utation, his ethical appeal is exerted primarily by what he says in that particular speech before that particular audience. Likewise, in rhetorical criticism, we gain our impression of the author from what we can glean from the text itself—from looking at such things as his ideas and attitudes, his stance, his tone, his style. This reading back to the author is not the same sort of thing as the attempt to reconstruct the biography of a writer from his literary work. Rhetorical criticism seeks simply to ascertain the particular posture or image that the author is establishing in this particular work in order to produce a particular effect on a particular audience.(Edward P.J. Corbett, Introduction to Rhetorical Analyses of Literary Works) Analyzing Effects [A] complete  rhetorical analysis requires the researcher to move beyond identifying and labeling in that creating an inventory of the parts of a text represents only the starting point of the analysts work. From the earliest examples of rhetorical analysis to the present, this analytical work has involved the analyst in interpreting the meaning of these textual components—both in isolation and in combination—for the person (or people) experiencing the text. This highly interpretive aspect of rhetorical analysis requires the analyst to address the effects of the different identified textual elements on the perception of the person experiencing the text. So, for example, the analyst might say that the presence of feature x will condition the reception of the text in a particular way. Most texts, of course, include multiple features, so this analytical work involves addressing the cumulative effects of the selected combination of features in the text.(Mark Zachry, Rheto rical Analysis from The Handbook of Business Discourse, Francesca Bargiela-Chiappini, editor) Analyzing Greeting Card Verse Perhaps the most pervasive type of repeated-word sentence used in greeting card verse is the sentence in which a word or group of words is repeated anywhere within the sentence, as in the following example: In quiet and thoughtful ways, in happyand fun ways, all ways, and always,I love you. In this sentence, the word ways is repeated at the end of two successive phrases, picked up again at the beginning of the next phrase, and then repeated as part of the word always. Similarly, the root word all initially appears in the phrase all ways and is then repeated in a slightly different form in the homophonic word always. The movement is from the particular (quiet and thoughtful ways, happy and fun ways), to the general (all ways), to the hyperbolic (always).(Frank DAngelo, The Rhetoric of Sentimental Greeting Card Verse. Rhetoric Review) Analyzing Starbucks Starbucks not just as an institution or as a set of verbal discourses or even advertising but as a material and physical site is deeply rhetorical...Starbucks weaves us directly into the cultural conditions of which it is constitutive. The color of the logo, the performative practices of ordering, making, and drinking the coffee, the conversations around the tables, and the whole host of other materialities and performances of/in Starbucks are at once the rhetorical claims and the enactment of the rhetorical action urged. In short, Starbucks draws together the tripartite relationships among place, body, and subjectivity. As a material/rhetorical place, Starbucks addresses and is the very site of a comforting and discomforting negotiation of these relationships.(Greg Dickinson, Joes Rhetoric: Finding Authenticity at Starbucks. Rhetoric Society Quarterly) Rhetorical Analysis vs. Literary Criticism What essentially are the differences between literary criticism analysis and rhetorical analysis? When a critic explicates Ezra Pounds Canto XLV, for example, and shows how Pound inveighs against usury as an offense against nature that corrupts society and the arts, the critic must point out the evidence—the artistic proofs of example and enthymeme [a formal syllogistic argument that is incompletely stated}—that Pound has drawn upon for his fulmination. The critic will also call attention to the arrangement of the parts of that argument as a feature of the form of the poem just as he may inquire into the language and syntax. Again these are matters that Aristotle assigned mainly to rhetoric... All critical essays dealing with the persona of a literary work are in reality studies of the Ethos of the speaker or narrator—the voice—source of the rhythmic language which attracts and holds the kind of readers the poet desires as his audience, and the means this persona consciously or unconsciously chooses, in Kenneth Burkes term, to woo that reader-audience.(Alexander Scharbach, Rhetoric and Literary Criticism: Why Their Separation. College Composition and Communication)