Stomp Box Logic extends Box Logic’s primary concern with human affect and the rhetorical method of juxtaposition to a primary concern with system feedback and a rhetorical method of looping and layering.
Feedback, in writing studies, typically means giving a paper to another human being so they can give more written (or sometimes oral) commentary on the writing so the author can use that information to revise the text. But in the examples above human beings aren’t the primary source of feedback, making the primary audience something other than human. My initial the breakdown of primary, secondary, and tertiary audiences can be approached from both theoretical and rhetorical models.
|Heidegger||Ede/Lunsford||Stomp Box Logic|
|Specific Manipulability||Audience Addressed||Objects/Technologies|
|Assignment Context||Audience Invoked||Assemblages|
|Human Dasein||Eventual Audience||Human Affects|
- Objects, whether they are produced through nature or human techne, exist prior to the rhetorical act and must be attended to as in Ede and Lunsford’s audience addressed because they have certain material specific manipulabilities that constrain the rhetorical situation.
- Assemblages are gathered around and through the rhetorical act and operate in conjunction with human invention as in audience invoked—all of the specific manipulabilities of all of the objects in question (natural, technical, human, and textual) create the conditions of possibility for emergent lines of flight and human affects.
- Human affect ultimately becomes an instrument-effect of the complex system rather than an effect of two-dimensional juxtaposition. They are an effect of the system but also feedback into it as part of its production, gathering, and functionality, forming an unanticipatable eventual audience.
Ultimately, Stomp Box Logic takes into account more of these layered and looped system constraints and possibilities than the accidental shuffle Suquet sees in Duchamp that grounds Sirc’s Box Logic.