Kennedy asks readers to consider the ways that syllabi allow and disallow students to partake in learning. They encourage instructors to reconsider how their syllabus statements can promote access rather than create barriers to learning.

Attention to visual literacy and graphic literature has greatly increased in the field of rhetoric and composition. However, the comics industry has fallen behind in terms of attention to access for readers. This webtext discusses how writing faculty can make their visual course content—comics, in particular—more inclusive while fostering discussion of disability studies and access in the classroom.

Close and distant readings are used as an analytical framework to better understand visual and linguistic representations of disability that appeared in the 2017 Disability March, presented through a webtext that isn’t perfectly accessible. The juxtaposition between inclusive narratives and inaccessible structures is explored via videos about the design choices made by the author that can serve to welcome or distance readers with diverse abilities.

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.

Traversing public and private spaces inevitably means finding a way to access those spaces. This simple fact is thrown into relief for those who experience barriers to access, and often unnoticed by those whose bodies, minds, abilities, and resources allow them to occupy the role of default user. Multimodality has been discussed at length as a means to enhance access to the public and private spaces through which we and our writing move. However, we argue that multimodality as it is commonly used implies an ableist understanding of the human composer. Our webtext seeks to redress this problem.