In 2010, the National Aeronautics and Space Administration (NASA) commemorated its 50th anniversary by launching an anniversary Web site, which includes links to a photographic timeline, videos, and documents that the agency views as important in telling its history. This article uses concepts from narrative theory and visual rhetoric to analyze the images used in the NASA History Timeline, paying special attention to why certain images were selected as historical markers over other photographs that are more widely published and televised. Specifically, the author uses arguments from Sontag’s On Photography and Barbatsis’s “Narrative Theory” to explain how NASA’s photographic narrative provides a story with a plot that spans from triumphs and tragedies in space exploration to pioneering efforts in racial, ethnic, and gender diversity.

This article builds on scholarship in technical communication, medical rhetoric, and visual communication and represents a portion of a grounded study of one medical workplace setting's visualization practices. Specifically, the author explores how medical images—as technologically and rhetorically rendered artifacts—make “present” (Perelman & Olbrechts-Tyteca, 1969 Perelman , C. , & Olbrechts-Tyteca , L. ( 1969 ). The new rhetoric . Notre Dame , IN : University of Notre Dame Press . [Google Scholar]) the material characteristics of disease and thereby perceptually and argumentatively afford the construction of knowledge about future cancer-care action.

Problem: E-learning has become a standard in many organizations to train its workforce and build an information network that encourages collaborative knowledge sharing. As a result of technological and global factors, the complexity of delivering successful e-learning courses and products is an increasing challenge for subject matter experts and instructional designers. Online training courses have become blended learning environments, comprised of synchronous and asynchronous modes of delivery, multiple media forms, and global and localized audiences to meet the demands and flexibility it affords. Successful blended e-learning is more than simply mixing online and live instructional modes; it can also include a combination of multiple media types, technologies, and communication modes. E-learners have become multimodal learners, with the ability to adapt to multiple media forms, environment types, and tools. Key concepts: Understanding the complex interaction of technology use, collaborative knowledge sharing, and media can facilitate more effective communication exchanges between instructor, content, and learner. Some concepts that help describe the complexities of blended e-learning include technological appropriation, technological accommodation, media richness, media synchronicity and naturalness, blended e-learning, and collaborative knowledge sharing. Key lessons: Research trends suggest learners appropriate technology and media forms, and evaluate usefulness based on a range of factors, including richness, experience, perception, and recommendation. Blended learning environments add complexity by mixing spatial (distributed and colocated) and temporal (asynchronous and synchronous) components with increased levels of collaborative knowledge sharing. From these research trends, the following best practices for developing e-learning are recommended: (1) consider media richness factors and user preferences in media and tool selection; (2) encourage personalization to foster trust; (3) facilitate collaborative knowledge sharing both inside and outside the training setting; (4) balance roles as knowledge facilitator, coach, and information manager; and (5) invest additional time in both course and instructor preparation. Implications: Blended e-learning presents a number of challenges for subject matter experts and designers of instructional content. Subject matter experts must consult with instructional designers and consider the different media platforms, environments, and formats that optimize the best pairing of content with delivery mode and media type. Content experts and designers must collaborate on methods of effectively adapting course content to account for perceived richness, user experience, and task complexity. Instructors must also invest additional time in planning and accounting for user preferences and communication practices in online training.

This paper uses critical discourse analysis to examine the language used in the teaching and learning of writing in a composition program in a public university in the United States. The objective was to identify metaphors and metonymies employed to construct an official standpoint of writing and the teaching of writing within the program, to identify the ideological position of the views conveyed in the documents and to analyze how this perspective is passed down hierarchically from the official documents to those actually developed and used by the instructors in the classrooms. The metaphors and metonymies used in the documents construct writing as an important commodity and college writing as more valuable than writing in other places. Metaphors and metonymies stood out as important semiotic devices for instructors to stay within a given pedagogical and educational perspective in ways that may normally be largely unnoticed by them.

Multimodality is a provocative challenge to those of us who understand the primary concerns of our field to be speech and writing. At its most simplistic, Kress's work is an expansive account of ho...

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.

This article develops a multimodal model for how claims and evidence work across linguistic, numeric, and visual modes in the professional writing of environmental scientists. I coded and analyzed two reports (Bacey & Barry, 2008 Bacey , J. , & Barry , T. ( 2008 ). A comparison study of the proper use of Hester-Dendy® samplers to achieve maximum diversity and population size of benthic macroinvertebrates Sacramento Valley, California (Report No. EH08-2) . Sarcramento , CA : California Environmental Protection Agency . [Google Scholar]; Levine et al., 2005 Levine , J. , Kim , D. , Goh , K. S. , Ganapathy , C. , Hsu , J. , Feng , H. , & Lee , P. ( 2005 ). Surface and ground water monitoring of pesticides used in the Red Imported Fire Ant Control Program (Report EH05-02) . Sacramento , CA : California Environmental Protection Agency . [Google Scholar]) written by research scientists working for California's Department of Pesticide Regulation (DPR) by applying concepts from studies of argument, genre, and visual representations in science. The claim-evidence patterns show initial and summative claims as well as warrants being presented in linguistic forms; however, supporting evidence (i.e., data and backing) is found in numeric, visual, and linguistic forms. These findings highlight the need to extend Toulmin's understanding of claim-evidence relationships into a more robust multimodal model.

Consent tools for health research generally are designed without contextual or linguistic factors in mind. This is especially true of university-based research. This case history details our design team's efforts to transform one generic consent form into a set of multimodal tools that will increase patients’ understanding of and participation in a medical study.

102 RHETORICA authoritarians generally, wanted things their way, without acknowledging the criticism, flaws, or consequences of that way or how they got it." (234) Some more nuance is in order. Historians are well aware that proslavery thought ante-dated the abolitionist literature crisis of 1835, though the ampli­ tude of proslavery thought certainly increased after Nat Turner's rebellion in 1831 and became substantially more strident post 1835. Another instance is Roberts-Miller's argument that many proslavery advocates portrayed slav­ ery as anti-modern (65-67). Those tropes are certainly in the proslavery lit­ erature and historians still frequently set up the old South as a place of pre-modern values against the market-oriented North. However, much of the movement (and also the rhetoric) was about how slavery was consistent with progress. Fanatical Schemes is difficult reading. It is dense. The discussion of secondary literature sometimes seems distant from the topic under study. For instance, juxtaposed are references to Orwell and proslavery thought (41, 219), the Nazis and slavery (218-19), and histories of Native Americans and contemporary debate over the Confederate flag (46). However, for those who are interested in the power of rhetoric and the contours of conservative thought, this volume will repay well the time spent with it. Roberts-Miller relocates ideas and words to the center of historv in this J study of how slavery was discussed. The big question one has is how do the ideas expressed here relate to reality? That is, even if the proslavery arguments had been more moderate, would the path of our nation towards proslavery actions - like secession - have been different? Did words cause war? Or is the discussion of proslavery thought more a dependent variable than an independent one? As we try to answer these questions, this important book may help re-ignite the scholarly study of proslaverv thought and the power of words and ideas. Alfred L. Brophy University of North Carolina-Chapel Hill Jeanne Nuechterlein, Translating Nature into Art; Holbein, the Refor­ mation, and Renaissance Rhetoric, University Park, PA: Pennsylvania State University Press, 2011, 242 pp. ISBN:978-0-271-03692-2 In the main, the terms and syntax of early sixteenth-century criticism of art are those of classical rhetoric. Most certainly, rhetorical analysis can illumine any visual or verbal persuasive event, regardless of self-conscious authorial intent or training. And early sixteenth-century Basel was the shared context of Erasmian (and Melancthonian) rhetorical publications as well as of Holbein's early (pre-England) work. Nuechterlein very usefully explores the context and considers the parallel tactics in Erasmian rhetorical theory and practice and Holbeinian visual rhetoric. She observes that Holbein "il- Reviews 103 lustrated , or drew marginal comments" on, Myconius' copy of Praise of Folly, suggesting he read it (67). There is as well an ingenious, useful dis­ cussion of the classical anecdotes Holbein selects for the “political rhetoric" of his decorative program (now lost) of the Basel Council chamber; she also notes possible linkages of the scenes to contemporary political scandal. Still, noting that Holbein s dev otion to variety as aesthetic value resonates with Erasmus s case for the virtue of copiousness, she correctly emphasizes a source of Holbeinian variety as current artisanal practice. Nuechterlein has amassed a great deal of rhetorical information—the available theory and expressive practices—but what rhetorical use does she make of her facts? Her primary, dominating rhetorical strategy is to dichotomize: opposing Holbein's “descriptive" art to the “inventive": phys­ ical to spiritual, body to mind, objective to subjective, observation of reality to “artistic", imaginative inv ention. But are not the "descriptive" portraits “inventive"? Could not a case be made that they are powerfully innovative? True, she asserts that Holbein achiev es a “middle ground" between descrip­ tive/ inv entiv e modes; but this does not do justice to the portraits' delivery of persons simmering with intent. There is the “Young Man, Age 32", alive to the possibility of engaging the viewer; and Holbein's portrait places Thomas More as oligarch, a man of power we know as intent on the cruel repression of heretics, a repression justified in his strenuous Humanist rhetoric. On the other...

The International Science and Engineering Visualization Challenge, recently established by the National Science Foundation (NSF), is an alleged attempt at public outreach. The NSF encourages scientists to submit visualizations that would appeal to non-expert audiences by displaying their work in an annual “special feature” in Science magazine, and each year they present the winning image on the cover of Science as the ultimate reward. Although the NSF advertizes the competition as an attempt to educate non-scientists, the visualizations lack sufficient textual explanation in the Science special feature articles and do not demonstrate clear significance for current issues in science. This article assesses the actual motivations behind the NSF's “Visualization Challenge,” given the lack of accompanying textual information, and it explores the consequences of allowing “scientific” visualizations to float into the public sphere unexplained. It will be shown that the spirit of this competition exemplifies the current shift from “public understanding of science” to “public appreciation of science” in the growing field of Science Communication, particularly through the technique of “framing” devices. This shift in objective, accentuated in the realm of visual communication, reinforces the public's view of science as a mythic authority.

Based on a quantitative survey of Norwegian business travelers, this study compares their use of face-to-face (FTF) meetings and videoconferences (VCs). The study finds that access and use of VCs are determined mainly by industry and the geographical structure of the enterprise. It also finds that VCs and FTF meetings differ along several dimensions, suggesting that these two modes of communication fulfill slightly different needs. Based on the survey results, the authors propose a framework to understand the emerging role of VCs. This framework would address both relational and task-based dimensions.

This special issue features articles that can help composition instructors think about ways to assess student products that are delivered in a variety of media. Although the topic of assessment is a common one, challenges arise as we apply—and adapt—our traditional assessment strategies to the features and components of compositions produced using new media. It is our hope that by engaging with the experiences of the authors of the articles in this special issue, readers of this issue will begin a conversation—among themselves, with their students—that leads them to articulate, reflect upon, and continually refine the criteria that are essential to both formative and summative assessment.

User-generated tutorial videos are quickly emerging as a new form of technical communication, one that relies on text, images, video, and sound alike to convey a message. In this article, we present an approach—a rubric—for assessing the instructional content of tutorial videos that considers the specific roles of modal and multimodal content in effective delivery. The rubric is based on descriptive data derived from a constant comparative study of user-rated YouTube videos.

Rhetoric-composition's recurring captivation with emergent brain research is sustained not only by the persuasive visual rhetoric of neuroscientific research but also by the conceptual and terministic overlaps that exist between the fields of rhetoric-composition and neuroscience. While these overlaps suggest ways research in brain science can usefully contribute to work in our field, they also instigate seductively simple “solutions” to the “problem” of epistemological uncertainty. Our neurorhetorical methodology preempts the reductive uptake of neuroscientific research while simultaneously motivating a cross-disciplinary reciprocity conducive to the goals of rhetorical inquiry and responsible writing pedagogy.

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.

This article addresses two central research questions: (1) Are there possible detrimental implications to teaching multimodal composition in first-year composition? (2) If so, what is pedagogy’s role in mediating these outcomes? Guided by these questions and focused on the responses of eighty seven first-year composition students, a mixed-methods research approach is engaged through surveys, pre/post-semester questionnaire data, transcribed interviews, and writing-about-writing essays. Uncovering the 39.6% of students who—through this research—are discovered to feel constrained rather than liberated by technology and who believe that technology amplifies their place in the literacy hierarchy, this article articulates the identity politics inside the multimodal composition classroom and introduces the term “hypermediated fractures” into the pedagogical conversations surrounding feminist pedagogy and the teaching of digital literacies in first-year composition.

Research Problem: There are no prior studies comparing modes of communication for virtual teams working over a substantial period of time that combined an initial synchronous desktop audio or video meeting with subsequent text-based computer-mediated communication (CMC). Research Questions: Does the initial medium condition impact decision-making quality, creativity, group development, and process satisfaction? Literature Review: Previous literature on media richness (the ability of a medium to carry and reproduce information based on feedback, multiple cues, language variety, and personal focus) and group outcomes (the level of creativity and quality of the work delivered by the group) suggests that ad-hoc groups using asynchronous CMC alone (without any initial meeting) or asynchronous CMC combined with an initial face-to-face (FTF) meeting have significantly higher levels of creativity and decision quality, compared to single-mode synchronous CMC groups or FTF groups. Methodology: In this study, a laboratory experiment was conducted with 136 participants from 14 countries. All teams used asynchronous CMC for two weeks for a software requirements task, following an initial synchronous meeting in one of four conditions: FTF, desktop audioconferencing, desktop videoconferencing, or text only. Results and Discussion: Results suggest that there are no significant differences among the four conditions. This research indicates that it does not matter what medium is used for an initial short meeting of a group that is to subsequently work together via asynchronous text communication.

Winner of the 2011 Computers and Composition Distinguished Book Award Winner of the 2012 Winifred Bryan Horner Outstanding Book Award from the Coalition of Women Scholars in the History of Rhetoric Winner of the 2013 CCCC Outstanding Book Award Technologies of Wonder: Rhetorical Practice in a Digital World considers the theoretical and pedagogical implications of designing academic scholarship in interactive digital media, and proposes renewed emphasis on embodied visual rhetoric and on the canon of arrangement as an active visual practice. This project uses the concept of the Wunderkammer to argue for techné and wonder as guiding principles for a revitalized visual canon of arrangement and as new models of invention and intervention in multimodal scholarly production.

In this article, we share findings from our process of “reading the past, writing the future” of elementary research in NCTE’s journals. Our analysis focused on major domains of the field, including literature, writing, reading, language, and multimodal literacies, and spanned Elementary English Review, which first appeared in 1924, was renamed Elementary English in 1947, and became Language Arts in 1975; Primary Voices, which ran from 1993 to 2002; and Research in the Teaching of English (RTE), which began in 1967. Findings revealed both surprising continuities across decades as well as clear and important social and cultural shifts that influenced theory, methods, and practice in the field, emphasizing the importance of 1) recognizing the level of historical and political influences in elementary literacy research, 2) paying explicit attention to how the cultural-historical zeitgeist shapes our work as scholars, and 3) interrogating how our representations of research problems may contribute to the continuance of social and cultural inequities.

Reviewing keynotes and papers presented at the 2005, 2007 and 2009 EATAW conferences, and subsequent academic and digital literacies research, this paper considers the current agenda for academic writing teachers. It discusses pedagogic issues arising, for instance, from research on genre, multimodality, online communities, and the challenges and resources for the generation of students problematically called the ‘net generation’. Looking at two wings of academic writing research, those focusing on the ‘textual’ and those on processes and contexts, it raises the question of a common agenda for disciplinary writing studies, one exploring the transformatory processes and effects of disciplinary meaning making in ‘the digital university’.

This essay invites a critique of contact zone theory and rhetoric’s origin story based on a reading of Guaman Poma’s First New Chronicle and Good Government. I read this writer’s argument for indigenous ability and reshaping of space through picture, map, and text as a multimodal effort that invites attention to classroom rhetorical power dynamics and standards.

ABSTRACT This article culls a theory of rhetorical vision from Aristotle's Rhetoric by examining the cluster of terms that bears on his theory of visual style. Rhetorical vision stands apart from but complements visual rhetoric in that it attends to the rhetorical and linguistic conjuring of visual images—what contemporary neuroscientists call visual imagery—and can even affect direct perception. The article concludes by examining rhetorical vision in Demosthenes' Epitaphios. At stake in this investigation is the visible and visual liveliness of rhetoric and its ability to alter sense perception.

ABSTRACT Traditionally, rhetoric is defined as the study and practice of persuasion, which is, according to Richards, “the theory of the battle of words and has always been itself dominated by the combative impulse”. This seems to have remained true. Foss/Foss even say that conquest rhetoric and conversion rhetoric have become almost “default modes of communication”. Scholarly communications do not seem to operate differently. Nonetheless, we can observe the emergence of diverse wave rhetorics, community oriented, in contrast with traditional “particle rhetorics”, individual centered. In this search toward wave rhetorics, recent Asian communication studies are not to be omitted. To deepen the research on these wave rhetorics, we need to reconsider the problem of language and misunderstanding, which is a main cause for communicational conflicts. This is a long and difficult process, which demands much imagination, creativity, and endeavor, but which is also well worth it.

This study examines the visual rhetoric used in Chinese and American promotional business communication. Comparing banking and financial product brochures published in the two countries, the study finds similar as well as different visual strategies. Most importantly, the Chinese samples frequently use visual metaphors, whereas the American samples hardly do. Prompted by this finding, I review relevant literature on visual metaphors and examine their structures and rhetorical functions. In addition, the study suggests that buyer images and cartoon images are used differently in the two countries, whereas product-related images are used similarly. I explore the contextual and cultural roots of these findings and offer suggestions on how to visually communicate with the Chinese audience and other international audiences.

This article describes the development of visual rhetoric in a historically significant museum exhibit. The study documents rhetorical change in the museum's displays, specifically in visual series depicting the horse's evolutionary development. The study also exposes the purpose of series patterning in the renovated display and the multiple views on scientific visualization this display implies. Such an analysis suggests the broad range of strategies in visual rhetoric available to science communicators working in the area of science popularization.

In his newest book, Multimodality: A Social Semiotic Approach to Contemporary Communication, Gunther Kress brings visual communication into the 21st century by applying social semiotic theory (a th...

This study focuses on the intersection of visual rhetoric with rhetoric of science by examining the rhetorical context in which natural science illustrators operate as they represent paleontology. Field methods were employed to study the rhetorical context in which paleontology becomes represented through art; this article reports the findings from the field study and contextualizes the study in rhetorical theories of invention and a discussion of social versus scientific facts. The research highlights some differences between what experts know and what public audiences perceive, offering insight into why those differences exist.

While researchers and instructors of technical and professional communication have embraced the importance of visual communication skills in recent years, little systematic effort has been made to develop assessment instruments that measure visual design skills. This paper presents a project that examines timed tests as a means of measuring a student's ability to solve design problems. The process and rationale for the test designs and the results of a series of empirical studies are discussed. The results of the studies suggest that timed tests can be a viable complement to the project-oriented assessment approach suggested by prior studies.

In this text, the author investigates the creative processes between authors and authors. The author states that he is interested in verbal-visual collaboration because the increased visual nature of communication necessitates the collaboration between those specializing in visual communication and those specializing in verbal communication. This work will be of particular interest to theorists as well as instructors in graphic design, professional communication, as well as rhetoric and composition and those studying ethnographic methodologies.

It has been suggested that teaching professional writing students how to think visually can improve their ability to design visual texts. This article extends this suggestion and explores how the ability to think visuospatially influenced students’ success at designing visual texts in a small upper-division class on visual communication. Although all the students received the same instruction, students who demonstrated higher spatial faculties were more successful at developing and designing visual materials than were the other students in the class. This result suggests that the ability to think visuospatially is advantageous for learning how to communicate visually and that teaching students to think visuospatially should be a primary instructional focus to maximize all student learning.

The introduction of international financial reporting regulations has caused European multinationals to be increasingly reliant on the nonfinancial multimodal sections of the annual report as a means of informing and persuading international stakeholders. Due to the growing status of English as an international financial communication language, moreover, these annual report sections are usually produced in English. This experimental study compares the effectiveness of texts and photos in Dutch-English and British-English management statements from the perspective of financial analysts in the UK. The research results largely confirm the similarity-attraction hypothesis: Among UK-based analysts, typically British communication features often yield a more positive effect than the features that are typical of the Dutch-based statements.

This case study describes how one eighth-grade student, Jon, asserted Native identities in texts as he attended a middle school in the western United States. Jon—a self-described Native American, Navajo, and Paiute with verified Native ancestry—sought to share what he called his Native culture with others in his school wherein he was the only Native American, despite his perception that schools have historically suppressed this culture. To study how the texts that Jon designed in school may have afforded and constrained the expression of Native identities, the authors collected three types of data over the course of eight months: (a) interviews from Jon and his teachers; (b) fieldnotes from classroom observations; and (c) texts that Jon designed in school. Grounded in theories of social semiotics and multimodality, the findings from this study suggest that different forms of representation afforded and constrained the expression of Jon’s desired identities in different ways due to their different physical properties, due to their historical and immediate uses in context, and due to the extent to which they fulfilled different metafunctions of communication. Recognizing the tensions and ironies associated with using some forms of representation, Jon sought to combine and use multiple representations to construct desired identities and to negate undesired ones.

“After writing about a visit to Bulgaria in 1996, I returned ten years later hoping to judge whether my original application of Baudrillard’s theory on the evolution of consumer society still held up…”

This is a multimodal composition created in Prezi. Click here to navigate to the Prezi.

Henry, Hilst and Fox argue for expanding basic writing to include multimodal communications and digital literacies alongside print-based literacies. After defining key terms related to multimodal composition, the authors describe teaching and learning strategies related to visual and oral/aural communication modalities.

Lutkewitte acknowledges that digital natives read and write differently than people whose literacy practices primarily involve printed materials. After describing these differences, the author explores implications for future digital native writing instructors as both teachers and scholars. As they put their digital literacies into practice in academia, digital native writing instructors will challenge 20th century modes of writing instruction and notions of authorship to foster the 21st century literacies developing in and outside of the academy.

Alexander, Powell and Green explore ways in which traditional, nontraditional, and basic writing students view the affordances (potentials and limitations) of multimodal composition. These potentials include layering, implicit persuasion, audience awareness, creativity, and affective appeals, and the limitation of a lack of a clear thesis. In conclusion, the authors offer pedagogical considerations for instructors who assign multimodal composition in their classrooms.

Basic writing students' photo essays demonstrate that the multimodal composition process affords opportunities to participate in engaging conversations about writing. The authors argue that the incorporation of multimodal assignments in the basic writing classroom promotes both digital and print literacies while fostering awareness of students' own writing processes.

Wuebben describes a multimodal writing project that he used in an adult oriented college literature course in New York City. Students were asked to read and interpret several novels, including White Noise by Don DeLillo--the focus of this essay. Moving out of the classroom and into their lower Manhattan Wall Street neighborhood, adult undergraduates experiemented with YouTube, hand-held video cameras, and cell phone recordings to depict scenes similar to those in White Noise. Wuebben concludes that students benefitted from participating in the project: it enhanced their interest in the novel, introduced non-traditional forms of literary interpretation, and challenged students to experiment with video recording as an approach to interpreting literature.

Lay examines the role of multimodal composition in influencing basic writers’ perspective on writing and fostering their agency in and facility with composing. The author concludes that opportunities for multimodality in the basic writing classroom help students to both challenge traditional forms they may mistrust, articulate an individual understanding of composing as a process and successfully complete assignments in a variety of rhetorical modes.

Shapiro describes challenges instructors confront when designing multimodal basic writing coursework while commenting on benefits afforded to students. Drawing on her teaching experiences in basic writing and Upward Bound classes, she offers sample assignments and provides a framework for creating curricula based on multimodal, academic and home literacies. Book Review: Shimmering Literacies

Carol Berkenkotter's Patient Tales sits at the intersection of at least two burgeoning areas of the medical humanities. It offers both a multimodal genre studies exemplar for scholars in the interd...

This qualitative research article explores how youth create multimodal rhetoric during a service-learning course at a local youth media organization. The study takes a detailed look at how a group of teens wanted to gain access to the Discourse of the documentary making process but struggled with the confines of conventions of film as were represented by the professional documentary maker who was their instructor. The research combines sociocultural and cognitive research traditions while investigating the teens’ and instructor’s relationship and interactions concerning the production of rhetoric.

Technical communicators are expected to work extensively with visual texts in workplaces. Fortunately, most academic curricula include courses in which the skills necessary for such tasks are introduced and sometimes developed in depth. We identify a tension between a focus on technological skill vs. a focus on principles and theory, arguing that we subvert the potential benefits of an education if we succumb to the allure of software. We recommend several classroom practices that help educate students toward greater visual literacy, based not only on recommendations from the research but also from our experience as teachers of visual communication.

This article traces the trajectory of one particular scene in the work of three media students writing and filmmaking. The analysis scrutinizes the role of semiotic tools, such as synopsis and storyboard, in students’ filmmaking practice. Moreover, the use of interactional data combined with textual data allows for a rich recording of the activity, aiming to integrate a multimodal analysis into a sociocultural perspective on learners’ composing practices. The findings indicate that the students are not able to transfer their particular meaning from the written mode into the language of moving images because they downplay the role of the semiotic tools available to them in the educational context.