Nalini Nadkarni’s 2010 Ted Talk, “Life Science in Prison”, places two unlikely entities together to denaturalize a distorted societal view on the prison system, and more specifically, inmates themselves. Nadkarni does so by beginning her Ted Talk metaphorically; she believes that many consider trees as unchanging entities, much like their views on prisons. Using this metaphor, Nadkarni highlights the positive dynamisms in prisons often excluded from mainstream views, which only necessitates a shift in perspective. Ultimately, Nadkarni creates a unifying and moving Ted Talk on a sensitive, and perhaps uncomfortable topic by appealing largely to the rhetoric of logic (logos) and emotion (pathos), effectively employing relevant visual and verbal elements to enhance such appeals.
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To accomplish this, a black and white image of a tree firstly appears, signifying its timeless and unchanging status. Simultaneously, Nadkarni verbally reinforces the fact, stating their enduring, stable roots to the ground. As she transitions into her unexpected experiment—trees as artists—the capability of trees as dynamic entities becomes increasingly clear. The presentation of visual evidence, such as the creation of brush strokes from wind-blown branches, along with impressive statistical quantification of their movement, allows the audience to reevaluate their previous approach to trees. Additionally, Nadkarni’s evidence grants her credibility, revealing her extensive research and knowledge in her field. After the captivating metaphor, the audience begins to logically deconstruct other static systems that “cry for change and dynamism” as Nadkarni transitions towards her main
To accomplish this, a black and white image of a tree firstly appears, signifying its timeless and unchanging status. Simultaneously, Nadkarni verbally reinforces the fact, stating their enduring, stable roots to the ground. As she transitions into her unexpected experiment—trees as artists—the capability of trees as dynamic entities becomes increasingly clear. The presentation of visual evidence, such as the creation of brush strokes from wind-blown branches, along with impressive statistical quantification of their movement, allows the audience to reevaluate their previous approach to trees. Additionally, Nadkarni’s evidence grants her credibility, revealing her extensive research and knowledge in her field. After the captivating metaphor, the audience begins to logically deconstruct other static systems that “cry for change and dynamism” as Nadkarni transitions towards her main