In their podcastEveryone's Writing with AI (Except Me!), McIntyre and Fernandes respond to the emergent conversation surrounding AI in rhetoric and writing studies. This webtext includes the podcast's first episode, an interview with Dr. Michael Black, and ends with the authors' thoughts about AI and writing studies.

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.

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.

Building upon the theoretical framework of Tony Scott's (2018) “curriculascapes,” this webtext dramatizes the multivocality and rhetorical attunement that is required of those who do most composition teaching while also accenting how performances can breach and transform institutional, political, and economic imperatives.

In a UI-driven design world, we cannot overstate the anxiety many individuals experience when encountering code. If we wish to promote any form of coding literacy at scale, our earliest attempts will need to address these fears. This webtext introduces the pedagogy of basic coding and Open Fuego, a tool designed to help educators easily integrate aspects of coding literacy, computational thinking, and computer science knowledge into the rhetoric and composition classroom.

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.

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.

This webtext identifies how vocal rhetoric can contribute to the emotional attachment of public memory and argues for the importance of voices to the history of Japanese American incarceration, focusing on two instances of vocal rhetoric: an open-access database on Densho.org that houses oral histories of World War II-era incarceration of Japanese Americans, and an audio kiosk at The Rohwer Memorial Cemetery located on the former Rohwer concentration camp site.

On February 21, 2019 The Carter G. Woodson Institute for African-American and African Studies at the University of Virginia hosted a listening roundtable for A.D. Carson's Sleepwalking 2 [a mixtap/e/ssay | OTR]. In the roundtable, Carson and five colleagues in music and/or rhetoric, discuss the process of the album, hip hop as resistance, and the academic legibility of Carson's musical work.

In this webtext, I develop an in situ approach for the rhetorical study of large-scale social media data. Grounding this in situ methodology in rhetoric and feminist critiques of data and visualization, this webtext models techniques and strategies for collecting, analyzing, and visualizing Twitter data.

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?

This webtext focuses on Lockridge's production of Rhetorlist, an inventory of new books published in Rhetoric and Writing, Composition Studies, Technical Communication, and related disciplines. Tracing the histories and challenges of these disciplines' engagement with digital tools, Lockridge argues for an attention to small, meaningful projects of service to field, and offers strategies for the development of such projects.

The comments sections below online news articles are popularly regarded as hostile—but many scholars see comments sections as spaces that expand democratic discourse. This webtext complicates the tension between these two interpretations of the comments sections by examining women’s rhetorical strategies in response to gendered hostility that accompany articles covering feminism and women’s issues.

In this webtext, we explore how Magic and other complex analog systems operate rhetorically as activity networks. Our scrutiny of Magic’s protocols leads us to consider and compare the game’s anticipated activities (as described in its game rules and our social expectations, conventions, and norms involved in playing the game) with its realized expressions of those activities (as encountered when actually playing one or more iterations of the game itself).

This webtext reports on initial corpus-based analysis of roughly 45 years' worth of scholarship in top-tier journals in the field of second language writing. Findings suggest that while “rhetoric” is variously inflected by specific, historical preoccupations of the field, articles throughout the corpus evince a sustained interest in deploying “rhetoric” as a label that names explicit pedagogical targets for multilingual student writers.

Open Pedagogy relies on tools and collaboration to facilitate public discourse. Student projects are linked throughout the narrative, which were also collaboratively composed. As we will demonstrate, the inclusion of digital tools enabled students to engage with the rhetoric on a level appropriate for the times, creating our own kairotic moment.

A synthesis of converging and contrasting perspectives on ways of knowing and doing in digital rhetoric pedagogy among 25 teacher-scholars that provides a rough sketch of the state of digital rhetoric pedagogy as it is understood and practiced in the second decade of the 21st century and as it is told by a range of voices, including leading voices, in the subfield of Digital Rhetoric and identifies and highlights areas of productive tension among interviewees’ responses.

Abigail Lambke extends Collin Gifford Brooke’s (2009) theory of rhetorical canons as an ecology, in which choices in one canon influence others as in a dynamic ecological model, and applies that to the practice, process, composition, and reception of podcasting–a form that can be considered both a static text and an interface. Lambke concludes that we might be in the age of secondary orality, but text, print, visuals, graphic narratives remain central to how we can think about and process the world.

In this webtext, we share our experiences in a new media graduate course in which students played and experimented with littleBits (modular circuitry designed for easy invention). Modular three-dimensional objects provide opportunities to introduce new media to students in ways that disrupt their conventional practices of invention, provide opportunities to explore rhetorical practice as play, and refigure creation as remix and craft.

Ghost bikes function as MEmorials, or a public acknowledgement of the unspoken costs of petrocultural values. However, ghost bikes are temporary monuments: they are often stolen or taken down by public authorities within just a few days or weeks after their installation. We created the mobile augmented reality experience “Death Drive(r)s: Ghost Bike (Monu)mentality” to visualize MEmorials of ghost bikes digitally.

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.

This webtext shares the invention practices and processes of two students in Michael Faris's 2016 two-week New Media Rhetoric graduate course, Sarah E. Austin and Erica M. Stone, who were tasked with creating a video of Joyce Locke Carter's 2016 College on Composition and Communication (CCCC) Chair's Address.

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.

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.

This webtext is comprised of nine sonic compositions as well as explorations and reflections on, and about, sonic rhetoric and the teaching of it. We have three goals: (1) to contribute to the growing body of scholarship on digital and sonic rhetoric via explorations of sonic rhetorical strategies and a presentation of a new digital pedagogical approach; (2) to offer insight into the complexity of understanding and employing sonic rhetorical strategies as first-time audio composers; and (3) to provide a teaching tool and curricula resource on sonic rhetoric for students in secondary and higher education.

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.

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.

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.

[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.

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.

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.

Even though a great deal of image and text will be spent discussing the website of an anti-smoking organization, this webtext isn't really even about them. The concern here is what happens when the classical means of persuasion meet the cool tactics of a digital interface and take a beating in the process.