Composition and rhetoric's attention to writing as cultural performance is expanded to analyze writing as organizational performance. A Foucauldian understanding of discourse enables the diagnosis of a technical writer's annual performance appraisal as grounded in 20th-century Taylorized management principles. Tenets from posthumanism—including a discarding of the liberal humanist subject in knowledge production and a leveraging of distributed cognition for enhanced performance of humans acting in concert with intelligent machines—enable a theoretical framework for repurposing this genre.

Globalization, or “fast” capitalism, has changed the workplace and writing in it dramatically. Composition epistemologies and practices, elaborated during the twentieth century in tandem with Taylorized workplace literacy requirements, fail to embrace the complexities of writerly sensibilities necessary to students entering the new workforce. To update these epistemologies and practices, MA students in professional writing were positioned as autoethnographers of workplace cultures, reporting to classmates on organizational structures and practices as they affected discursive products and processes. Their studies produced a database of petits recits on workplace cultures, and their work is analyzed for the ways in which it forecasts subjective work identities of writers in the years ahead. Implications are drawn for composition administration, curriculum design, course design, and collaborative work among academics and writers in private and public spheres.

An MA student in professional writing and editing undertook ethnographic research on ghostwriting in the military headquarters where he has worked as a civilian writer for 18 years. He investigated the ways in which the military's review process (or “chop chain”) influences writer psychology and the final written product. His findings shed light on writer psychology and on bureaucratese as a cultural discursive product and lead him to propose changes in local writing and reviewing practices. To suggest innovations in teaching and curriculum, this article traces the MA student's academic authorship as he drew on the disciplines of ethnography, folklore, social psychology, and composition and as he used cultural theory from Foucault and textual theory from narratology.

MA students in professional writing and editing researched technical writing in specific workplace cultures. Their research is interpreted in light of recent theory on authorship as a cultural rather than individual phenomenon. Students' constructs for understanding their own writerly selves are discussed, as are constructs that emerged for the interpretations of selves and others in workplace cultures. Teaching technical authorship meant addressing such constructs, implicating issues of status, affect and effect, representation, and expertise.

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Recent theory views technical communication not as a “transmission” of a message from sender to receiver but as a complex process involving an articulation of meanings, in which the technical communicator serves as a mediator. Ethnographies composed by practicing technical communicators demonstrate ways in which this mediation takes place. As such, the mediation casts the work of technical communicators in new light, allowing us to understand their work as “authorship.” This article draws upon practitioner research to present some of the facets of such authorship.