Those who teach have [a] responsibility to learn and then engage students with digital approaches and technologies that students themselves would not likely discover independently. Students must be afforded the opportunity to write markup, programs, APIs, and commit messages in the same range of learning situations as they write essays and exams today.

We explore the design of the Writing Studies Tree prototype as an intervention in both writing studies and the study of academic genealogy. We articulate the many exigencies for the project and explain the design choices we have made in response. Finally, we argue for data-driven academic genealogy as a valuable framework for understanding how influence circulates within writing studies.

The Web is big business, and our online communications and interactions and the data they leave behind are commodified by big business. Large-scale data aggregators, natural language systems that code and collect billions of posts, and tracking systems that follow our every click have fundamentally changed the spaces and places in which we compose, create, interact, research, and teach.

Our goal is to map the relationships between global open-access publishing, the accessibility of those publications to diverse users, and sustainability and preservation of digitally published and archived texts, in all their designed formats and media. We are short-handing these concepts through the word "access/ibility," which we take to encompass open access, access and preservation, and accessibility in terms of availability, usability, and disability.

InterviewsDaniel Anderson interviewed by Erin AndersonSusan Delagrange interviewed by Madeleine SorapureKeith Dorwick interviewed by Susan DelagrangeErin Anderson interviewed by M. Remi YergeauThomas Rickert & Michael Salvo interviewed by David RiederDavid Rieder interviewed by Thomas Rickert & Michael SalvoMadeleine Sorapure interviewed by Daniel AndersonVictor Vitanza interviewed by David RiederAnne Wysocki interviewed by Victor VitanzaM. Remi Yergeau interviewed by Anne Wysocki

Using a mix of archival footage, music, spoken word performance and voiceover, this video is a direct address to the field on a rarely considered subject: queer female masculinity.

We argue that the local example of C’s the Day and “Sparklegate” is a moment that reflects larger tensions about the role of games in education and attitudes toward the field of game studies itself.

Our initial research questions are concerned with the ways in which youth slam performance in this space contains the potential for not only response to, but urgent and active movements against, regressive contexts, such as the legislative moves in Arizona that have limited young people’s comprehensive access to narratives of sexuality, health, and rights.

The arrival of digital technologies, along with the subsequent proliferation of new communication media enabled by these technologies, has brought new attention to the connection between networks and the rhetoric/writing they support. Network writing and networked rhetorics are intimately bound up with digital networks, and as such a theory of either must make use of new tools to address the unique characteristics of the rhetorical situation presented by digital networks.

Our concern with the interaction and interplay between writers, writing instructors and assessors, and technology is part of our interest in understanding the complexities of infrastructure through this ecosystemic frame. In this text, we consider the foundational structures, the architectural supports, of our current writing ecology and then move on to survey the larger landscape of research and debate how to build and sustain a thriving ecosystem of writing and writing instruction and assessment.

For writing instructors and technical support staff, our informal collaborative experiment suggests the potential value of stepping outside one’s comfort zone—one’s domain—to forge institutional relationships that either don’t exist or that lack dialogue and depth. For writing program administrators, our experience might serve as a reminder that innovation often happens at the margins.

Efforts on the part of specific individuals, particular programs, and professional organizations to be change agents within various spheres of influence (i.e., within particular programs, departments, institutions, or national and international contexts) is understandably difficult given the dual challenge of bringing change to both the practices as well as the infrastructures that can support (but can also thwart) the activities of writing instruction.

As a solo project, "Alice in Dataland" is inherently limited by my own skillset as scholar, writer, designer, illustrator, and programmer. This personal construction in part caused me to reject the current aesthetic of the digital humanities, which tend towards center-hosted and grant-funded projects by collectives, not individuals. Instead, I took my inspiration from the classic web, and particularly from early electronic literature and webtexts.

In this webtext, we add to the conversation of best practices, focusing on training graduate students to teach online courses and develop pedagogically sound curricula. By training these students in online writing instruction (OWI), we not only encourage best practices in our institution, but we also prepare these graduate students to enter new jobs and programs with a comprehensive understanding of OWI pedagogy.

In this webtext, we add to the conversation of best practices, focusing on training graduate students to teach online courses and develop pedagogically sound curricula. By training these students in online writing instruction (OWI), we not only encourage best practices in our institution, but we also prepare these graduate students to enter new jobs and programs with a comprehensive understanding of OWI pedagogy.

Pinterest has generally been characterized as a women's space, and this characterization is influential on not only users' experiences of the site but also how rhetoric happens in this space. Exploring how rhetoric happens in this social media space can exemplify the everyday public rhetoric that shapes the composing practices and civic engagements of digital citizens who use Pinterest and other social media sites.

We are in a position to shape understanding, perception, agency, and efficacy surrounding the use of public rhetoric, and we should not ignore the digital as a means to accomplish those goals. One way to overcome this potential obstacle in labeling online action as activism could be for pedagogues to expand their civic, public, and new media writing lessons to include digital civic engagement.

I consider the “when” of rhetorical literacies by exploring individual and aggregate posts in the popular photo-sharing service Instagram as meaningful pivot points along broader continua of literate activity. In this way, social media participation is seen as a nexus and fulcrum from which scholars and students of writing and digital rhetorics may trace literate activity both backwards and forwards—to see social media as one public component in a host of self-sponsored writing and rhetorical practices.

By making these moves more visible through this type of analysis, I explain why this kind of social web participation is a significant site of study for digital rhetoric, one that can help expand how we teach social media writing practices to our students. These are students who may very well already be participating in similar fandoms and spaces and entering careers where they will be responsible for responding to these issues and setting policies for producers, consumers, crafters, and participants.

[M]y goal is not to attempt to show uniqueness in fan tweets; even those that might be considered run-of-the-mill fan-type writings that express fan-type adoration are important and meaningful. Rather, I present composing practices as suggested by a grounded theory approach so fan writing on Twitter may begin to be understood on its own terms and not through pre-conceived (and often incorrect) notions about fans, fan writing, and writing on Twitter.

[F]or composition teachers who hope to utilize social media to support student writing, recognition of the rhetorical potential of students’ use of multiple social sites—as active users of not just Facebook, but also Instagram, Twitter, Pinterest, Tumblr, and others—emerges as a necessary prerequisite to meeting student expertise in rhetoric.

[T]this webtext presents cell phones as agents that can hold a great deal of influence in our everyday activities and literacies. In order to get closer to how these powers function in an educational context, this project explores cell phones through an explanation of a student video project and an actor-network/new materialist analysis of that video.

This webtext "tells the story of one composer's struggles with (and within) PowerPoint, a metonymic interface of digital composing" by placing "the composing processdepictedin the video in dialogue with the composing process thatresultedin the video.

Our goals in this webtext are to 1) document our reflexive examination of the connections among narrative, writing, and the self that we performed as we read, responded to, analyzed, and wrote about Clarissa and blogs; and 2) offer a series of interpretive claims about how narrative functions as a powerful tool for the construction of a self, especially when that self is built within rhetorical interchange.

This multimedia project employs and performs the full etymology of articulation—the linguistic, visual, embodied, and mechanical—to describe an advanced undergraduate course in science writing, which focused exclusively on new media storytelling....Each element, produced by a participant in the course, performs the mechanics of new media and can be viewed or heard in any order as they each attempt to stand alone while joining with the others. By design, this webtext can be employed in ways specific to new media science writing specifically or to new media writing more generally.

Interviews with:Steven Conway & Marc OuelletteJennifer deWinterKevin Moberly & Ryan MoellerJudd Ruggill & Ken McAllisterJason Thompson