This piece juxtaposes two games created with generative AI: a commentary on the challenges of being an administrator handling competing demands regarding the use of generative AI, and a similar game structure centered on the digital humanities. Together, these two works offer a commentary on the conversations around generative AI in the humanities and a demonstration of the increasing value of these tools as part of multimodal composition.

This webtext shares the curriculum for a day camp workshop that invites pre-teen students to learn about and engage with sustainable design practices, and to share their observations and findings through discussions and multimodal webtexts. They also discuss the value of addressing sustainable practices from multiple age perspectives, and based on multiple sites—a pollinator garden, a bike repair shop, a thrift store, and more.

Describing the incorporation, assessment, and revision of a multimodal project partnership between a first-year writing program and a studio library, this webtext argues for more in-depth partnerships between writing programs and libraries.

This webtext develops a dual theory of dark patterns based in the ancient concept of mêtis, or rhetorical cunning, and the Gestalt principles of visual design related to optical illusion and perspective. This theory is used to interpret dark patterns of six representative types to show how it can support a reading of other deceptive texts and web interfaces more broadly.

Designing an online course that focuses on multimodality and community building—where community encompasses the online space and the larger society and can be uniquely fostered by metacognitive engagements—can promote student success as literate citizens within and beyond academia. Metacognitive reflection, in our case linked to the canon of Memory, can guide students to reconsider how elements of the course can affect their learning and their work in their future careers.

This video project considers participatory composition and media platforms like YouTube and Twitch, primarily focusing on how the latter’s infrastructure promotes online community participation and collaborative narratives. Viewers develop an understanding of the technology and together expand upon their media literacies engagements through textual, verbal, aural, and multimodal communication.

Our invitation is to think about composing as inclusive of written texts, multimodal webtexts, and all the things writing and rhetoric folks would normally be asked to help students improve in creating. But for this experience, we don't want to stop there. We want you to also think about composing other things. Think about films. Think about dance choreography. Think about baking pies. Think about music. How do humans learn to compose these things? How can a visualization aid in learning these things?

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.

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.

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.

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.

Perspicuous Objects" puts theorists of visual rhetoric into conversation with comics theorists and practitioners in order to look closely at the use of comics and comics principles for teaching students about composition, meaning-making, and critical reading.

This webtext argues for the use of multimodal instruction to design online writing courses with digital tools to deliver instructional content and facilitate feedback" — "we believe students who are asked to produce multimodal composition assignments should be engaged with instructional content of appropriate uses of multimodal materials.

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.

A visual rhetorician and poet, Endres explains how his interest in Surrealism helps him study the visual techniques and expression of Medieval texts.

The Hub represents a departure from the way writing is usually conceived of and taught in Australia, in that it emphasizes writing as a discipline with a classical rhetorical framework. … Through preliminary longitudinal data from our Sydney Study of Writing as well as student interviews and program feedback, we demonstrate how and why a rhetorical approach best supports the development of student writing in multimodal contexts.

The classroom activity described in this webtext is my attempt to think through the ways that the multimodal nature of closed captioning as a language practice could intersect productively with a translingual approach to language. Part of rhetorical awareness for a globalizing citizenry is an acknowledgement of the complexity of language choices—even and especially in contexts where language is seemingly transparent, standard, unquestioned.

Battle Linesoffers a compelling game experience that allows student-players to develop rhetorical, community-building, and digital literacies, crossing boundaries between academic and ludic practices. The game was test-run for the first time in a class of undergraduate students at UT Austin over the course of four weeks early in the spring semester of 2012.

In a 2009Computers and Compositionarticle, I examined how the terms multimedia and multimodal were used in academic and industry situations. This webtext extends that argument to investigate the ways in which a variety of other terms, including digital media and new media, are defined by scholars in the fields of computers and composition and education. These interview-based conversations laid the framework for a broader consideration of the anatomy of a definition: how we develop definitions and how definitions shape our work in academia, the classroom, and public life.

This piece, created at the Digital Media and Composition Institute in June 2012, is a multimodal attempt to capture and compare both the physical and conceptual movement involved in dance and writing. The project is my first step towards exploring the non-linear nature of composition as expressed in the movement of the body and of the mind.

Our experiences in English 696e: Spatial and Visual Rhetorics culminated in a semester project that included large-scale installation projects and mini-workshops. This semester project was anevent—titled svr2—that we hosted for our local community, particularly targeting an audience of first-year composition instructors who would be teaching visual and spatial analysis to undergraduate students as part of the University of Arizona's first-year composition curriculum.

Rhetorical Roots and Media Future is a multimodal project exploring podcasting as a part of a writing class. The text has two main components: a hypertextual webtext and a seven episode podcast series. The podcasts provide both a basic introduction to podcasting as a classroom activity and the ways in which podcasting provides new ways of engaging and shaping the canon of classical rhetoric, as well as the rhetorical skills that are foundational for good writing practice.

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 video reflection starts in a presentation on comics at the Thomas R. Watson Conference last October, which prompted the author to explore the etymology of cosmos and comos through an alternate reading of Gorgias'Encomium of Helen. The author then works with comos, as revelry, to offer thoughts on comics as a form of multimodal composition and its use in the classroom.

In a remix of the infamous Hitler meme—taking a scene from the movie,Downfall(2005), and adding subtitles appropriate (in this case) forKairosreaders—theamishaugur makes a pointed, humorous (to some) commentary on the status of multimodal composition scholars in English departments during job market season. (See the Logging On column for more discussion about this piece.)