This article explores four different topics of conversation in technical and professional communication (TPC) scholarship that overlap and connect with contemporary issues in generative artificial intelligence (AI): process and iteration, theory and power, actors and activity, and the social justice turn. The authors offer four nonexhaustive reviews of these conversations, offering insight into key issues and texts that have animated discourse in the field and can directly or indirectly address the complex relationship between TPC work and generative AI.

OpenAI's ChatGPT is a large language model (LLM) that excels at generating text and public controversy. Upon its release, many marveled at its ability to author intelligible and generically responsible texts (Herman). Writing about his students' experiences using artificial intelligence (AI) writing assistants, S. Scott Graham remarks that the results were "consistently mediocre—and usually quite obvious in their fabrication." Why might this be true? How can an LLM succeed in some respects and fail in others? We argue that the discrepant reactions to human and AI rhetoric are a question of genre, specifically that AI rhetoric is only generic; AI rhetoric represents a new enactment of "writing degree zero" (Barthes) that is disengaged from immediate rhetorical situations and knowledge bases. AI text generators (currently) have a more difficult time simulating the positioned perspectives that human writers bring to situations and communicate to audiences through their genre usage. Drawing on the work of Bakhtin, we treat this problem as a question of generic form and audience addressivity. We describe the interplay of form and addressivity as genre signaling and offer it as a construct for the analysis of AI rhetoric and genre as a cultural form (Miller). Genre signaling (Hart-Davidson and Omizo) describes a feature of communicative behavior as it occurs over time that can help both humans and machines evaluate written discourse as it exhibits certain stabilized formal features. When texts contain specific genre signals at expected frequencies and intensities, it may be recognized as being generally accurate, reliable, trustworthy. Without these signals, a text with a similar topical focus might fail to be taken as credible or useful. In this essay we propose to quantify genre signaling based on three measures: (1) stability, (2) frequency, and (3) periodicity.

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 article describes graduate mentorship experiences at the Writing, Information, and Digital Experience (WIDE) research center at Michigan State University and offers a stance on graduate student mentorship. It describes WIDE’s mentorship model as feminist and inclusive and as a means to invite researchers with different backgrounds to engage in knowledge-making activities and collaborate on projects. Additionally, the article explains how WIDE enables growth for its researchers, teachers, and leaders. To illustrate these ideas, the authors provide multiple perspectives across faculty mentors, former graduate students, and current graduate students in order to discuss how WIDE researchers practice mentorship and how this mentorship prepares students for future work as scholars and researchers. Finally, the article suggests ways other research centers can adapt WIDE’s approach to their own institutional context.

Background: This teaching case describes the evolution of a course on content strategy aimed at advanced undergraduates and graduate students in the digital and professional writing programs at Michigan State University. The course has gone through three major shifts to reflect corresponding shifts in focus among professional and technical communicators: from developing content for the World Wide Web (original focus) to single sourcing; from single-sourcing to Enterprise Content Management Systems (ECMS), and from ECMS to content strategy. The case primarily focuses on the most recent shift. Research questions: How can a course on content strategy be useful to both advanced undergraduates preparing to enter the job market in industry and graduate students interested in learning theories in technical communication? In turn, how can a course on content strategy reflect current practices in industry while maintaining grounding for the course in academic research? Situating the case: Three emerging themes relevant to teaching content strategy emerge in the literature. The first is the role of the content strategist as an Editor-in-Chief, who creates a repeatable system for designing and managing all aspects of a website [1, 2, 3]. The second is the need to develop strategies for addressing stakeholders, especially clients and users, whose goals are to learn more about why they should invest in an organization and its broader vision. The third is adapting content for reuse, which involves designing content that can be easily accessed through various platforms and formats. How the case was studied: This is an experience report by the four faculty members who, together, have taught every section of the course in the last 15 years. Two of the instructors also participated in the course as students. About the case: The most recent version of the course is a one-term course that teaches theory and best practices for managing dynamic and distributed web content, while also incorporating assignments that help students practice content strategies with real clients. It addressed these issues with the previous version that focused on content management by collaborating with industry practitioners to help students understand the real-world implications of developing strategies for and creating web content with clients and organizations. It specifically addresses three themes identified from the literature-emphasizing the role of the content strategist as an Editor-in-Chief, differentiating the needs of clients and users, and designing for reuse. Course assignments include a landscape analysis of content-management systems and strategies used by various companies, designing content templates for specific clients, and developing a content strategy for a client selected by student groups. Key issues to address when developing the most recent version of the course included creating a course that was useful to graduate and undergraduate students aiming to enter content strategy professions, developing a balance between theory and practice in course readings and assignments, and revising a course to reflect current industry demands for skills in content strategy. Results: Anecdotal evidence from students is that the course was successful and acts as a defacto capstone for the program. Through their course evaluations and unsolicited follow-up emails, students exiting the most recent version of this course became valuable assets who help organizations develop big-picture strategies for adaptable content to be shared through various platforms. Conclusion: A course on content strategy that incorporates current industry perspectives helps graduate and undergraduate professional writing students become more adequately prepared for their future professions working with organizations.