Gaines: HE DID IT!
A new world record!
Gaines: HE DID IT! HE
[Michael] Phelps's hope's [are] alive!
That might be the most incredible relay split I've ever seen in my
entire life. Not only was that the fastest in history -- it
BLEW AWAY the fastest in history.
1 Note on the extended audio
"SD" version above: In a news conference prior to the start of the
2008 Beijing Olympic Games, France's Alain Bernard stated: "The
Americans? We're going to SMASH
them. That's what we came here for." [emphasis added] These remarks
are included in the "Simulated AM Radio" version above.
2 Five of the eight teams --
the United States (3:08.24), France (3:08.32), Australia (3:09.91),
Italy (3:11.48), and Sweden (3:11.92) -- beat the previous world
record of 3:12.23, established in a preliminary heat by the United
States at these same Olympic games. The latter achievement was
remarkable in its own right, as a group of relatively unheralded
American swimmers -- Nathan Adrian, Cullen Jones, Ben
Wildman-Tobriner, and Matthew Grevers -- beat the previous world
record set in 2006 by the United States at the Pan-Pacific
Championships, a team which included Michael Phelps and Jason Lezak.
Of the members who competed in the 2008 Olympic preliminary heat for
the United States, Cullen Jones' swam the fastest leg (47:61) and
thereby earned a spot in the final heat.
1. What impressions (cognitive
and affective) does the artifact above (text, audio, images, sound
only) produce in you? 2. What
kind of impressions do you think the artifact might produce in
someone outside the U.S.? In France? 3.
The artifact above (text, audio, images) can be interpreted as
coordinating and integrating momentum or movement to produce two
different races. Explain. 4.
What role does image color play in the interpretation of the
artifact above. What is the interpretive significance does the
title/catch phrase "The/Le "Split" and of its strategic placement?
The audio performances of Hicks and Gaines above have been described
as "manic" and "way over the top." Such judgments are, of course,
relative -- subjective, culturally-situated. However, there are
objective aspects to the performances from which subjective
judgments are calculated. Consider the following verbal attributes:
volume, rate (number of words per 10 second block of
time), pace (variation in rate across 10 second intervals,
including relatively longer and shorter pauses), enunciation,
pitch (vocal highness and lowness), staccato
("punching" of words and phrases) and their variation over the
length of the clip. Do the same with the French and British audio
clips for comparative purposes. What are the key objective
differences across the verbal performances? How do these differences
contribute to the relative perceptions and judgments of auditors?
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