Zdenek experiments with "novel forms of audiovisual accessibility. Enhanced captioning (also called kinetic, embodied, integral, dynamic, and animated captioning) offers radical alternatives to the taken-for-granted landscape of captioning and sonic accessibility.

The authors describe the process of editing a special issue ofDigital Humanities Quarterlyfocused on Comics as Scholarship, reflecting on the complications for scholarly practice and editorial assumptions when working with scholarly comics.

Helms reflects on his process of developing and producingRhizcomics, a born-digital monograph, and argues that "writers of digital scholarly monographs must pay special attention to the eventual form of their work at every stage, from writing a proposal to eventual publication.

Using the mixed media of sketch notes, animation, and voiceover, this video explores the field of composition’s relationship between multimodality and composing. The piece illustrates how multimodal strategies such as sketchnotes can enhance idea generation and learning and provide classroom stategies for multimodal composition.

POOC assignments enable students to step in and out of different important economies that interact in a post-truthy world: the attention economy (engaging viewers with content), information economy (finding info to create the university), reputation economy (developing ethos), and trust economy (learning how to trust others by vetting).

This project challenges the dominant narrative a state university utilizes to describe its namesake. The project curates a selection of primary source documents set in juxtaposition to myriad other texts, images, and videos, all working in conjunction to complicate the scene of learning at this university and in this state.

Health literacy is an embodied, multisensory experience that is invariably mediated by healthcare technologies. We illustrate this concept through three case studies that describe scenarios in which non-experts and lay experts engage in non-discursive literacy practices: parents caring for an infant in a neonatal intensive care unit (NICU), people with type 1 diabetes (T1D) self-managing their treatment, and public audiences reporting symptoms to a crowd-sourced flu-tracking program.

Distant reading and related data-driven methodologies illuminate previously unrecognized trends in how the discipline of English has incorporated, resisted, and naturalized new media technologies.

Using anonymous, location-based social media applications in the writing classroom can heighten student awareness of other situational factors online, such as time, place, and feeling. By engaging with student posts and their accompanying reflections, this text argues for the use of anonymous social media applications in our pedagogy to help students engage ethically in digital spaces.

This webtext explores the educational and social potential of Alternate Reality Games (ARGs) by describing and analyzing the design, curriculum, and objectives of an ARG entitled S.E.E.D. This webtext uses some of the transmedia assets that made the game itself possible, as well as video documentation of the game, to provide an account of this genre and its affordances.

In this webtext, we share our experiences in a new media graduate course in which students played and experimented with littleBits (modular circuitry designed for easy invention). Modular three-dimensional objects provide opportunities to introduce new media to students in ways that disrupt their conventional practices of invention, provide opportunities to explore rhetorical practice as play, and refigure creation as remix and craft.

Winners of the Gail E. Hawisher & Cynthia L. Selfe Caring for the Future Scholarship share their experiences and their suggestions for increasing diversity and inclusion in the Computers and Writing community.

Moore shares her experiences using a wheelchair to navigate space to argue that a wheelchair allows for an adventurous life. Her video was composed using her Assistive and Augmentative Communication (AAC) device and her camera and iMovie on her iPhone.

A collaboratively created manifesto on the value and complexity of transmodal composition, this webtext includes three variant forms: an alphabetic statement (structurally modeled after the Riot Grrrl Manifesto), an audio discussion (composed as a podcast), and a video trailer (in the style of a movie trailer).

Visualizing Digital Seriality" explores the modding community surrounding video games through a case study exploring how serialization relates to digital cultures. Through a series of data visualizations, the topic of seriality and methods of distant reading are offered to enhance critical code studies through digital humanities methods.

Ghost bikes function as MEmorials, or a public acknowledgement of the unspoken costs of petrocultural values. However, ghost bikes are temporary monuments: they are often stolen or taken down by public authorities within just a few days or weeks after their installation. We created the mobile augmented reality experience “Death Drive(r)s: Ghost Bike (Monu)mentality” to visualize MEmorials of ghost bikes digitally.

Methodologically, this webtext takes up a diversity of modes of making, documenting and reflecting on this shared learning journey, including photography, interviews, participant observation, and a documentary film. This is conveyed through a spatial rhetoric that is designed to evince and allow access to different thematics and elements in the interface so that readers—students, educators, researchers—may differentially traverse the multimodal account of the learning journey.

This webtext shares the invention practices and processes of two students in Michael Faris's 2016 two-week New Media Rhetoric graduate course, Sarah E. Austin and Erica M. Stone, who were tasked with creating a video of Joyce Locke Carter's 2016 College on Composition and Communication (CCCC) Chair's Address.

Adams uses students’ video compositions, interviews, and written reflections of their work in a rural community to examine the affordances of audio-visual composing in assisting students to connect to cultural and geographic communities outside of campus and to interrogate their own personal perceptions of and connections to place.

Inspired by games such as the various Tycoon titles, DESPAIR (Department of English Simulated Problematic Adjunct Instructor Relations) puts players in the role of a Writing Program Administrator (WPA) in order to shed light on the plight of contingent labor in the writing classroom and within the larger institutional framework. The game's alternate mode, UPLIFT (Utopian Potential for Life with Instructors at Full Time), provides an example of a way academics might use simulation games to advocate for change in an affirmative manner by demonstrating how alternatives might work.

Digital visualization techniques offer rich possibilities for visual rhetoric and circulation studies. This webtext applies visualization techniques to 1000 various forms of the Shepard Fairey Obama Hope image to reveals wide and diverse circulation and modification beyond its original political purposes, demonstrating how such methods can help rhetoricians better account for the transnational flows, circulation, and rhetorical applications of viral images through iconographic tracking.

In this webtext, Hidalgo and Grimes respond to Kristine Blair’s call to make online spaces more hospitable to women’s social professional and political goals by developing six social media guidelines rooted in feminism. They argue that feminism provides key insights on how to create online communication styles that foster positive and productive interactions.

The Roadkill Tollbooth is aMEmorial, and focuses on public policy issues concerning domestic oil production and consumption through a digital, conceptual, and affective mapping of the Deepwater Horizon oil spill, offering an alternative to how we communicate our individual and collective responses to such a disaster.

What does composing look like in and across digital, networked spaces and the physical spaces our bodies inhabit as we compose? What does multimodal composing look like as we choreograph alphabetic text, images, sound, video, and more? In this project, the authors take on these questions as they capture and share their composing processes across mediums, platforms, localities, and languages.

This text is an experiment with sound and multimodality, with connection and discord. It exposes some meanings and materialities of writing and composing, borrowing the musical conceptschordandfugue. It is an exploration of rhetoric and ofchora, an inventional method that is intuited and felt. The webtext is designed to feature this exploration in the form of a video, with written text on subpages that describes the process behind the video's creation.

I use this webtext to demonstrate how ASL music videos can enhance accessible multimodal pedagogies because of the ways that their designers use multimodal strategies to make their compositions more inclusive. I call on instructors and students to analyze ASL music videos and design more accessible multimodal compositions that reach different bodies.

Grounded in a series of local accounts, this webtext examines complex issues facing pre-tenure writing program administrators as they enter the professoriate while negotiating hybrid identities as teachers, researchers, and administrators. Developed out of a roundtable at the 2014 Conference on College Composition and Communication, the project also emphasizes contemporary alternatives to roundtable design that regard openness, accessibility, and persistence as priorities for delivery and circulation.

This webtext is comprised of nine sonic compositions as well as explorations and reflections on, and about, sonic rhetoric and the teaching of it. We have three goals: (1) to contribute to the growing body of scholarship on digital and sonic rhetoric via explorations of sonic rhetorical strategies and a presentation of a new digital pedagogical approach; (2) to offer insight into the complexity of understanding and employing sonic rhetorical strategies as first-time audio composers; and (3) to provide a teaching tool and curricula resource on sonic rhetoric for students in secondary and higher education.