In this manifesto, we argue that textiles are another form of data visualization. Textiles serve as a medium for storing, connecting, and coding data, but the practice of encoding information onto textiles through “craft” is a practice that comes steeped in histories of technology, privilege, and erasure.

In this webtext, I develop an in situ approach for the rhetorical study of large-scale social media data. Grounding this in situ methodology in rhetoric and feminist critiques of data and visualization, this webtext models techniques and strategies for collecting, analyzing, and visualizing Twitter data.

Our invitation is to think about composing as inclusive of written texts, multimodal webtexts, and all the things writing and rhetoric folks would normally be asked to help students improve in creating. But for this experience, we don't want to stop there. We want you to also think about composing other things. Think about films. Think about dance choreography. Think about baking pies. Think about music. How do humans learn to compose these things? How can a visualization aid in learning these things?

In a special issue about data visualization in writing studies, we use this webtext to both make connections between translation and data visualization and to argue that as our fields continue developing methodologies for and orientations to linking writing with visualization, we should take time to honor the communities and spaces for whom visual and alphabetic communication have always been inherently connected.

This webtext outlines how decisions about data collection, segmenting, organizing, coding, structuring, styling, and modeling data influenced, in turn, which elements of literate practice were emphasized within the visualizations.

We focus on a corpus of around 2 million words and four types of data visualization to make arguments about the larger field of writing center studies. We also address the value of cross-institutional work for writing center studies, particularly related to documents (e.g., sessions notes) that are often under-utilized at individual institutions.

How can we—as citizens and consumers, as teachers and students—develop the ability to understand, explore, and analyze data of various kinds in order to inform our decisions on matters that are important to us? The Dear Data project described in this webtext suggests that asking students to produce and visualize small personal data can open a process of engaging with data analytically and creatively.

This webtext focuses on Lockridge's production of Rhetorlist, an inventory of new books published in Rhetoric and Writing, Composition Studies, Technical Communication, and related disciplines. Tracing the histories and challenges of these disciplines' engagement with digital tools, Lockridge argues for an attention to small, meaningful projects of service to field, and offers strategies for the development of such projects.

This webtext is a digital gallery of six (re)imagined interfaces, designed to de-familiarize and call attention to the material and aesthetic components of web design. By (re)imagining six everyday interfaces that commonly mediate online activity, the gallery offers space for viewers to question and explore issues of navigation, orientation, metaphor, language, embodiment, and infrastructure that undergird human-computer interaction.

In this article, I propose a social process for digital forgetting (or promoting forgetfulness of media traces that should be relatively inconsequential) using one successful example from Twitter. One example is of course not exhaustive, but it was chosen as a representative model of the ways users are learning to forget. If our systems are not built to forget, we might consider how we can do so not (only) by combating technological functions, but by working with them.

The comments sections below online news articles are popularly regarded as hostile—but many scholars see comments sections as spaces that expand democratic discourse. This webtext complicates the tension between these two interpretations of the comments sections by examining women’s rhetorical strategies in response to gendered hostility that accompany articles covering feminism and women’s issues.

In this webtext, we explore how Magic and other complex analog systems operate rhetorically as activity networks. Our scrutiny of Magic’s protocols leads us to consider and compare the game’s anticipated activities (as described in its game rules and our social expectations, conventions, and norms involved in playing the game) with its realized expressions of those activities (as encountered when actually playing one or more iterations of the game itself).

This webtext reports on initial corpus-based analysis of roughly 45 years' worth of scholarship in top-tier journals in the field of second language writing. Findings suggest that while “rhetoric” is variously inflected by specific, historical preoccupations of the field, articles throughout the corpus evince a sustained interest in deploying “rhetoric” as a label that names explicit pedagogical targets for multilingual student writers.

This webtext pursues pluralities by exploring how text, video, and images can be braided to evoke sovereign relationships. Indigenous sovereignty is a significant premise of this work, animated through weaving and yarning – both a practice of Indigenous sovereignty and a graceful methodology that invites non-Indigenous and Indigenous sovereignties to strengthen and maintain sovereign relationships.

Open Pedagogy relies on tools and collaboration to facilitate public discourse. Student projects are linked throughout the narrative, which were also collaboratively composed. As we will demonstrate, the inclusion of digital tools enabled students to engage with the rhetoric on a level appropriate for the times, creating our own kairotic moment.

This webtext provides one way to teach students how to enter a new discourse community; allowing them to then use what they’ve learned to enter new discourse communities after leaving their composition classes. The purpose is not to teach students a specific discourse so much as to teach them how to recognize and enter new discourse communities on their own.

A synthesis of converging and contrasting perspectives on ways of knowing and doing in digital rhetoric pedagogy among 25 teacher-scholars that provides a rough sketch of the state of digital rhetoric pedagogy as it is understood and practiced in the second decade of the 21st century and as it is told by a range of voices, including leading voices, in the subfield of Digital Rhetoric and identifies and highlights areas of productive tension among interviewees’ responses.

IntroductionA Copyleft ManifestoIn Memory of Ty Herrington

Videogame modders are legally disenfranchised when it comes to owning what they create, but an ethical solution exists: let modders claim ownership of the mods they create but require that their work be labeled as "unofficial." This solution would create new opportunities for productive partnerships between gamers and the videogame industry based on equitability and mutual respect.

This webtext considers how educational technology platforms challenge student authorship and ownership, focusing on three platforms: Turnitin, Twitter, and Canvas. These platforms represent a range of platform types—a plagiarism detection system, a social media platform, and a learning management system—and support an assortment of composing practices and platform-based interactions that give rise to tensions in authorship.

This webtext explores the pedagogical possibilities of teaching with and through "monkey selfies" as the issue of animal authorship and copyright opens up new pedagogical avenues for challenging the static and fixed views of authorship in composing practices.

This webtext presents excerpts from recorded interviews with seventeen writing studies practitioners that provide examples of the different, considered approaches to intellectual property that they adopt.

Given decades of stalemate, one could be forgiven for thinking plagiarism is best left an agree-to-disagree issue, best handled by in-house amelioration. Yet, one facet of plagiarism appears intriguing and overlooked: the arguments that surround public figures charged with plagiarism. Such debates bring to light the often invisible commonplaces about writing.

This webtext approaches the notion of copyright as a counter-revolutionary tool abused by the corporate politics of global capital and its power networks. We, the authors of this webtext, respond to the triangle of revolution, copyright, and counter-revolution.

Alexandra Hidalgo's webtext uses the medium of home video in a mediated conversation between two mothers to explore issues of composition, recomposition, memory, and remediation. Starting from a home video, Hidalgo both makes and embodies an argument for investigations of home video that complicate notions of amateur versus professional production and projections of editing or its apparent absence, while also raising questions about the intersections of domestic life and technological history.

Abigail Lambke extends Collin Gifford Brooke’s (2009) theory of rhetorical canons as an ecology, in which choices in one canon influence others as in a dynamic ecological model, and applies that to the practice, process, composition, and reception of podcasting–a form that can be considered both a static text and an interface. Lambke concludes that we might be in the age of secondary orality, but text, print, visuals, graphic narratives remain central to how we can think about and process the world.

Jason Crider and Kenny Anderson construct a digital MEmorial (Ulmer, 2005) commemorating those who have died at Walt Disney World as a means of investigating the intersections of hypermediated corporate spaces and place-based opportunities for civic rhetorics. Digitally augmenting the monumental aspects of Disney World offers readers of the webtext and visitors to the park a reconsideration of how individual, public, and historical experiences contribute to context-dependent collaborative compositions of space.