A digital text adventure, a topographical survey, a chorus of violence: perimortem [in (theoretical) rigor] is a creative-critical parser game that enacts Eelam Tamil diasporic-disabled repairing composition, extending Trammell's (2023) "repairing play": a Black phenomenology of play that begins with the idea that torture is play for people of color who share collective histories and ongoing experiences of racial and ethnic violence. Mapped using kolam geometry, perimortem is a parser game designed to simulate the pleasurable and painful affects of composition and challenge the Euro-Western moral and aesthetic aversion to tortured embodiment in scholarly writing by explicitly, interactively illustrating the presence of torture-and/as-play in academia.

Materials compositions, such as textiles, tell stories and act as data carriers. They persist in speaking even as their makers are erased or lost. When information about a maker ceases to be available, applying principles of storytelling and rhetoric facilitates a possible re–reading of a material composition as a process of recentering the human maker.

This project explores audio description (AD) as a rich digital-composing practice. It offers a framework for understanding AD rhetorically, which is elaborated through an illustrated retelling of the fairy tale "The Bremen Town Musicians." Through discussion of the framework and the fairy tale, this webtext highlights the complex technical and ethical questions that arise with applications of AD.

This webtext curates three artistic transpositions of Odissi, an eastern Indian classical dance form, from live movement to digital embodiment. The authors investigate three representations of recorded movement data and explore these variations' affordances and constraints as online avatars for the embodied Odissi dancer, framed by the dancer's reflections on her experience as both dancer and digital composer.

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.

Space matters, and regardless of our commitments to one theoretical framework or another, we should continue to invite students to write about space and about their embodied experiences with/in space. In so doing, however, we should be mindful of the worldviews our spatial rhetorics and pedagogies present and authorize, however implicitly.