The use of generative artificial intelligence (GAI) large language models has increased in both professional and classroom technical writing settings. One common response to student use of GAI is to increase surveillance, incorporating plagiarism detection services or banning certain composing activities from the classroom. This paper argues such measures are harmful and instead proposes a “CARE” framework: critical, authorial, rhetorical, and educational—a nuanced approach emphasizing ethical and contextual AI use in technical writing classrooms. This framework aligns with plagiarism best practices, initially devised from when rhetoric and composition scholars considered the pedagogical implications of the Internet.

ABSTRACTThis article uses Heidegger's critique of the aesthetic tradition to reconsider the limits and potential of aesthetic rhetoric. Contextualizing rhetoric's so-called aesthetic turn within the German aesthetic tradition, we argue that aesthetic rhetoric remains constrained by aesthetics' traditional opposition to the rational and the true. This theoretical heritage has often prevented contemporary aesthetic rhetorical theory from considering the value of art beyond sense experience and ritualized cultural reproduction. We claim, however, that rhetoric can be artistic and at the same time project a community's evolving sense of political and social truth. Through an analysis of Simón Bolívar's Angostura Address, which in 1819 inaugurated a political rebirth of the Venezuelan republic, we demonstrate how the art of rhetoric can exhibit Heidegger's three senses of “aletheiaic” truth: the bestowing, grounding, and beginning of a political community.

ABSTRACTAs commemorative artifacts have come to saturate our public culture, many scholars have revisited the question of genre and the commemorative experience. Responding to this work, I argue that by subverting the commonplaces of our commemorative culture, certain works of public memory have the capacity to suspend audiences in a deferred event of identification. I describe the creative potential of this process by arguing that when compelled to forge common ground with an atopon (out-of-place) work of public memory, one can be unsettled in one's ordinary habits and resituated toward the world and toward others. By redescribing the problem of identification as it relates to the disruption of our everyday rhetorical encounters, this article's significance extends beyond public memory and suggests the transformative potential of suspense and the out-of-place in our broader rhetorical culture.

This essay explores the role of rhetoric in everyday online activities, arguing that scholarship in digital rhetoric can be informed by Raymond Williams's theory of media flow. Turning to Martin Heidegger and John Poulakos, I argue that the Web's rhetoric of the possible encourages a momentum of text consumption by which users are tempted to further immerse themselves in a “flowing” media experience. As digital technologies provide new opportunities for the surveillance and personalization of our Web practices, this article concludes by encouraging scholars to be critical of the tempting possibilities—and possible selves—crafted by this rhetoric.