I'm trying to do two things. One, I want to talk about performance and emergence. I'm going to mix that discussion. At times, I discuss performances that inform this project. At times, I look at what emerges from those performances. ... And two, I want to describe how I made/am making the video/performance, 'Watch the Bubble.' That work involves recovery and release, a Möbius compositional loop that looks back and flows forward as the reflections are mixed into the project before you.

The practical, "how-to" companion to the more theoretically-oriented webtext in the Topoi section, Podcasting in a Writing Class? similarly provides a hypertext and series of podcasts—this time focusing on the construction and implementation of podcast assignments for writing courses.

At the Computers and Writing 2011 Conference in Ann Arbor, Michigan, Gail E. Hawisher was celebrated for her many contributions to the field. At that conference, Hawisher gave a keynote address entitled "Our Work in the Profession: The Here and Now of the Future." This video publication includes contributions from scholars who wanted to share their thoughts about Gail upon her retirement; it was presented during her keynote at C&W 2011 and is co-published inC&C Online.

Rather than introducing a pre-exisiting game into the learning spaces, gamification adds elements of games into educational (or other) spaces. After a brief exploration of the debates surrounding "gamification," we present two successful uses of gamification:C's the Day, a game run as part of the Conference on College Composition and Communication andFYC's the Day, a spinoff from the conference game that was used as part of FYC instructor orientation at the University of South Florida.

This webtext is a text/image collage, a meditation on the associations between syncretism and the mashup. In this piece, I do not claim any theoretical connections between syncretism, hybridity, and mash-ups; I am only curious about their associative, analogical connections and how I might represent these materially/visually via this juxtaposition of texts and images.

While her occupation, and the stereotypes associated with running a fashion magazine, may not initially seem to be worthy of scholastic attention, careful study of Wintour's influence reveals insight into the rhetorical tactics penetrating fashion culture in America, and perhaps more broadly, pop culture in America.

Gendered appearance inWorld of Warcraftis of particular interest because it seems to infiltrate interactions between individuals without serving a functional purpose within the game itself. It provides an opportunity to look at avatar choice in environments that have a primary purpose aside from existing as an arena for creating identity, and possibly the opportunity to uncover some new insight into why individuals select avatar gender the way they do.

This webtext examines the ways that Jonathan Pearson, a recent graduate of The University of Missouri–Kansas City, revised one of his essays to turn it from a seminar paper into a published scholarly article. The project covers a time period from 2004 to 2010 and documents the article's most important streams of input. Those streams include the author's passion for his subject and the ongoing mentoring he received from Professor Jane Greer, his teacher and also the editor of Young Scholars in Writing, and from Professor Patti Hanlon-Baker, member of the journal's editorial board.

The purpose of this project was to explore and document one approach for integrating social media--Facebook, really--into freshman writing. The assignment using Facebook was first given in 2006 and twice more through 2009. Our report on the project takes the form of a network; the content is distributed across the wall, info, and notes sections of the narrator profile, The Facebook Papers, as well as across the pages of all of the authors.

This website is the creation of a student of mine, Jacoby Boles, who is the Editorial Assistant for the e-journal Xchanges, of which I am editor. Jacoby reflects, via this site, on his experiences as a member of the Technical Communication 371 "Publications Management" course at New Mexico Tech. TC 371, in Fall 2010, was a course explicitly designed to engage students with a unique "client project," the production of an issue of the online journal Xchanges.

Documentary movie making is not academic writing. Nor is it traditional academic research. However, I have found it to be a remarkable vehicle for teaching both of these things...each semester I am amazed and humbled by the creativity and sincerity that my students bring to their work.

Contributors: Amanda Booher, Cate Blouke, Will Burdette, Anthony Collamati, D. Diane Davis, Marjorie Foley, Sean McCarthy, Lauren Nahas, Justin Tremel, Tekla Schell, & Victor J. Vitanza

This project is devoted to the memory of my grandmother, Olive. It is at once her life story and not a story at all. In a sense it represents the product of an intimate family collaboration and of the close journey we shared in collecting and preserving her oral history. But this project is not a product, nor is it entirely about my grandma, about me, or about the sentiment out of which it emerged. The Olive Project is aboutprocess, and at its core it is also aboutyou, about your encounter with it, and about your participation in the ongoing process of composing memory.

Techno-velcro to Techno-memoria" is an intergenerational collection of techno-memories illustrating the impact of techo-literacies on family communication practices. Guests participating in "Techno-velcro to Techno-memoria" add their voices to create a rich resource of techo-rhetorical connections. Our guest-collaborators remember and describe moments where family, technology, and rhetoric have mixed in their lives.

This installation is a personal and cathartic engagement with my initial inability to cope with my daughter's cancer. It details events that began in August of 2008 and concluded, in a sense, in February of 2009. I offer it with hopes of helping digitally oriented rhetoric and composition scholars "determin[e] a should for a we" (Patricia Sullivan & James E. Porter, 1997, p. 103). How should we approach pedagogy in the early 21st century? My tentative answer is to approach it less with aims of "constructing knowledge" and more with hopes of "negotiating encounters.

The fact that I'm not a professor of professional writing or computer design allows for "Road Trip," with its basic code creation, to be of pedagogical use for students and teachers with limited technological resources. Through a scholarly engagement with creative writing, electronic literature, and design, this writing experiment is an example of the fun that a little, simple creative writing/coding can be for the creative writer.

The Microreview feature is intended to present a series of condensed reviews of online work by an invited scholar. By providing an informed perspective chosen by the reviewer, readers can not only find out about this type of online work, but begin to understand how the online work may be relevant to their own scholarly and teaching practices.

I'm talking about the ways we represent ourselves and our world. I've put some thoughts on the topic together here—a gathering that enacts new media creating and takes up conceptual layers like metaphors, models, and composing. The primary sources are videos from the Get a Mac campaign, aka I'm a Mac; I'm a PC ads. Posthuman concepts blending people and machines are also tuned into the mix.

As a tool for publishing in time-compressed media environments, Prezi is nearly ideal. In this Inventio piece, I write about why Prezi works so well (for me), especially in the context of trying to talk about the DIY digital films I have produced. Key concepts that support my claim involve desire and movement (aural, imagistic, spatial).

In this webtext, we discuss one powerful way that writing program administrators (WPAs) can start to reshape their basic rhetorical situation, potentially shifting the underlying premises that external audiences bring to discussions about writing instruction. We argue that digital video, when used strategically, is a particularly valuable medium for communicating how writing courses promote student learning.

The Microreview feature is intended to present a series of condensed reviews of online work by an invited scholar. By providing an informed perspective chosen by the reviewer, readers can not only find out about this type of online work, but begin to understand how the online work may be relevant to their own scholarly and teaching practices.

This webtext examines the practices of authorial attribution in textual production in higher education (where notions of individual authorship and intellectual property prevail, particularly at military academies) and in the military (which has a more public conception of authorship).

This webtext explores the cynical/kynical humor of soldier videos, suggesting that amateur videos paradoxically both undercut authority and honor effective leaders, both make light of and also publicly reveal deployment hardships, both distance the performers from military groupthink and celebrate unit camaraderie.

Through a series of video essays, Fraiberg examines how the codes of the military are "mashed" or remixed into everyday reading, writing, and speaking practices in Israel.

Rutz presents samples of artist Steve Mumford's paintings from the Iraq war zone alongside photos or other war images and asks readers to examine notions of journalism, photojournalism, and the practices of representing war.

This webtext reveals two modern-day methods for soldiers to share their war stories: 1) soldiers sharing their stories with cadets from West Point through a project linking veterans from the Global War on Terror with composition students; and 2) soldiers learning in online composition classrooms designed specifically for them.

Penich-Thacker points to the increasing digital presence of the U.S. military, not only on official dot.mil sites but also on commercial social networking sites, and suggests that the interactions and intersections of military and civilian personnel online challenge the notion of "fundamental differences" between these populations.

This interview with Chomsky covers a range of topics regarding the uses of technology by the United States military and the Israeli military, including the use of information technology for surveillance, communication, and control of civilian populations.

This interview traces Burns's transition from military officer to professor, provides insight for junior scholars in computers and composition, and seeks connections among military training, artificial intelligence, and teaching with technology.

Lt. Gen. Caldwell is a three-star general who has publicly promoted the use of digital media technologies—from blogs to YouTube to Twitter—by military personnel of all ranks. He discusses training, security, and other issues associated with the use of information technologies by active-duty military personnel.