Creating Space: Building Digital Games

Studies of games, rhetoric, and pedagogy are increasingly common in our field, and indeed seem to grow each year. Nonetheless, composing and designing digital games, either as a mode of scholarship or as a classroom assignment, has not seen an equal groundswell. This selection first provides a brief overview of the existing scholarship in gaming and pedagogy, much of which currently focuses either on games as texts to analyze or as pedagogical models. While these approaches are certainly valuable, I advocate for an increased focus on game design and creation as valuable act of composition. Such a focus engages students and scholars in a deeply multimodal practice that incorporates critical design and computational thinking. I close with suggestions on tools for new and intrepid designers

Simulation Genres and Student Uptake: The Patient Health Record in Clinical Nursing Simulations

Drawing on fieldwork, this article examines nursing students’ design and use of a patient health record during clinical simulations, where small teams of students provide nursing care for a robotic patient. The student-designed patient health record provides a compelling example of how simulation genres can both authentically coordinate action within a classroom simulation and support professional genre uptake. First, the range of rhetorical choices available to students in designing their simulation health records are discussed. Then, the article draws on an extended example of how student uptake of the patient health record within a clinical simulation emphasized its intertextual relationship to other genres, its role mediating social interactions with the patient and other providers, and its coordination of embodied actions. Connections to students’ experiences with professional genres are addressed throughout. The article concludes by considering initial implications of this research for disciplinary and professional writing courses

A Rhetorical Journey into Advocacy

This thesis reveals how advocacy is rhetorically constructed by using several rhetorical tools such as Kenneth Burke’s terministic screens, Michel Foucault’s genealogy and archaeology, and Bruno Latour’s black box. It is told in an autistethnographic style where it is part narrative, part academic, and written by an autistic person. Advocacy is rhetorically constructed by beginning to define a label for yourself

Online Media Piracy: Convergence, Culture, and the Problem of Media Change

This thesis proposes that there is a symbiotic relationship between the emergence of online media piracy and the industrial, economic and legal changes that have shaped contemporary popular media in the early 21st century. The Internet is at the heart of most recent transformations of the popular media environment, such as the emergence of video-on-demand formats for film and television consumption and the impact this has had on the nature of those media forms. This thesis discusses the powerful role played by online media piracy in shaping these developments, both through changing the expectations of consumers, and the options that are available for distributors of media content. As well as exploring the diverse forms and practices of online media piracy today, this thesis also explores theories of media change, considering how we might understand such piracy as a force underpinning media change, and how the changes it has helped shape might be placed in a broader historical context. To that end, the history and impact of online media piracy are considered alongside other examples, such as the arrival of video recording devices and the expansion of cable television in the 1980s and 90s, and the significance of international trade deals impacting access to media via “geoblocking” and other techniques of access management. Finally, this thesis also examines debates around copyright, and the potential political significance of piracy as a tool for accessing media and culture, viewing online media piracy as a crucial practice appearing at a nexus of industrial and popular interests, tied to technological, economic and legal developments, and to changing consumer behavior and expectations

A New Materialist Rhetoric: Theorizing Movement from a Rhetorical Ethnography of Hiking

In the field of rhetoric, conventional concepts of movement depend on dialectical theories of materiality that posit matter is not rhetorical until acted upon by human sign or symbol systems. New materialist philosophy, which considers the dynamism of matter without situating materiality in dialectical relationship to language, provides a theoretical context for reconceptualizing the rhetoricity of movement. Working from a nondialectical approach to materiality, this dissertation theorizes how movement functions rhetorically, specifically within cultural practices of hiking. For this project, I participated in 15+ hikes at state and national parks in Maine, and generated a multimodal archive of 1,000+ audio, photo, and video recordings, focused on the ways that hikers interact with environments. Across three core chapters that combine ethnographic experience with new materialism, I argue that movement is a rhetorical process of world-making. First, I trace Michel de Certeau’s semiological theory of walking, using the new materialist concept of biogram and a rugged hike at Mount Katahdin to analyze affective experiences of embodied movement. Then, drawing from a slippery hike at Acadia National Park and Erin Manning’s philosophy of movement, I intervene in Kenneth Burke’s dialectical ontology of nonsymbolic motion and symbolic action, and reconsider what it means for human bodies to live in a world of flux. Finally, in an ethnographic case study with outdoors reporter Aislinn Sarnacki at Borestone Mountain Audubon Sanctuary, I explore the ways in which the movement of hiking enabled and constrained her journalistic practice. Taken together, this research offers new possibilities for understanding movement as integral to rhetoricity, for developing the field’s engagement with affect and materiality, and for engaging the archival poetics of rhetorical ethnography

Wave Form, wave function.

The project Wave form, wave function is conceived as an examination of the relational dynamics of form and function in contemporary implementations of electronic media in the visual arts. Creative work comprising installation of digital and analogue media equipment, projection of live rendered and pre-programmed immersive computer graphics, high energy kinetic and video sculpture - in relational configurations, leads the research. The electronic media being intrinsically signals based, consideration is given to a broad definition of the signal encompassing electronic analogue waveforms, digital encodings, programmatic flow control structures and semiotic and language based signal exchange. The electronic media are considered as rhetorical devices that use an expanded language of visual and procedural rhetoric in their processes. The project is premised on a position that considers scientific realism to be a questionable basis for understanding. Quantum physics has demonstrated the entanglements of matter and energy, of object and observer, as relational and transmissible, somewhat magical processes. In this context aspects of form and function in the produced artwork are discussed as poietic work, the process of engaging in ongoing cultural discourse that is world building. A poetic license is allowed in translating between the literal and literary as Scientific Realist and socially constructed models of reality are compared. Noesis, knowing and being in the world, is examined for how contemporary artists employ technoesis, that is cultural production through technological media. Such work is considered as sympoietic, evoking symbiotic, hybrid modes of poiesis. Working with contemporary electronic media in the visual arts entails a grasp of the nature of the medium that extends to the metaphysical

Procedural Rhetoric and Language: How the Orwell Videogames Series Emphasizes the Importance of Context in Content

Procedural Rhetoric and Language: How the Orwell Videogames Series Emphasizes the Importance of Context in Conten

My watch begins : identification and procedural rhetoric on second screens and social networks.

Digital rhetoric creates opportunities for examining rhetoric as it evolves daily. This evolution may be described in terms of network circulation and immediate opportunities for publishing and creating. This project analyzes mobile applications and live feeds used during television broadcasts, where rhetoric is closely tied to the work of identifying with another point of view. Producers and designers of dual-screen applications prompt us to answer how we would act if we assumed the role of protagonist and saw the world through her or his eyes. These questions support the idea that identification is not just a relative of empathy or a way to engage emotionally with the text but also a way to approach problems and sharpen observation. From this dissertation’s findings we may reconsider the work of seeing and perspectival shifting as part of a sophisticated procedure of reflexive role play and public intellectualism. In addition, the analysis provides information about how mobile devices and second screens work to support consensus and a preferred reading (viewing) of popular narratives and group performances, thereby calling into careful consideration how we use such devices to influence others. Finally, the dissertation’s work helps us understand new forms of viral communication and the velocity (Ridolfo and DeVoss) at which they are transmitted. Consequently, we may approach textual artifacts as “living documents” and consider how such “living” properties may change our perceptions of authorship and composing. In Chapter One, “My Watch Begins: Complex Narrative, Transmedia, and Point of View,” I begin by offering an overview of my methodological approach to these applications. I situate the work of identification on mobile devices within the larger conversation surrounding transmedia and how it encourages viewers to participate in contemporary television narratives. This section provides explanations of how the terms procedural rhetoric (as introduced first by Ian Bogost), prosopopoiea (from ancient rhetoric), and point of view (from narrative theory) will function in this project, with most of the attention given to procedural and rhetorical studies of the various programs and websites associated with audience writings. This chapter also calls attention to the difference between empathy and perspective shifting. An example from contemporary culture that helps illustrate this difference and provides space for conversation is the viral blog post “I Am Adam Lanza’s Mother.” This editorial, written in the aftermath of the Sandy Hook shooting in 2012, features identification techniques used as persuasive tools but does so in a problematic way that might be better handled with a nuanced and careful study of how identification operates in other settings. Central to this project are questions addressing how we discuss and document the acts of viewing/seeing/looking, and in what ways the process of seeing from multiple perspectives is currently being lauded in society and the academy. In Chapter Two, “If You See Something, Say Something: Syncing Audience Viewing and Response,” I reveal two opening examples that illustrate these premises: one from a Walking Dead advertisement that features the protagonist’s eye and one from a Department of Homeland Security ad-“If You See Something, Say Something.” These examples dovetail into a specific analysis of syncing devices, or dual screen viewing experiences, and the actual rhetoric accompanying the requests to see from multiple perspectives (“If you were Rick, you would ___”). I also call attention to shows where the act of identifying with the protagonist raises questions about the limitations of perspectives. To be specific, I suggest that the white middle-class male is the paradigm of identification exercises for shows that encourage participation from viewers. Examples from television suggest that women and minorities are less likely to be the characters with whom we align our interests; therefore, I argue we should interrogate this trend and think reflexively about the act of identifying. In Chapter Three, “Choreographing Conversation through Tagging, Tokens, and Reblogs,” I argue that analysis of audience reactions via live feeds and blogging platforms shows that textual artifacts, through increased circulation, promote a certain form of identification through consensus. This consensus reveals the tendency of viewers to gravitate toward preferred readings (viewings) of narratives and to identify with characters closely resembling themselves. By constituting viewers in a rhetoric specific to each fictional world, producers encourage identification and help secure appropriate and largely positive viewer behaviors through conversations online. Specifically, digital activities like “checking in” to a show and writing with specific hashtags become markers of narrative involvement. Producers, in turn, engage in reciprocal action by promoting or displaying fan activity on their own feeds, thereby sponsoring the work of the audience. While such activity often leads to conformity, I argue that these moments of group consensus may act as springboards for future conversation about other perspectives and narrative outcomes. In Chapter Four, “Texts as Bodies, Bodies as Texts: Tumblr Role Play and the Rhetorical Practices of Identification,” the rhetorical analysis of these online sites and mobile applications then leads to questions of how we perceive embodiment during identification. In this section I look closely at the writing found on the microblogging site Tumblr, where viewers of television narrative engage in role playing their favorite protagonists and creating dialogue with fellow role players. This practice, operating outside the jurisdiction of producer-designed apps, reveals new patterns of the work of identification. With attention to the ideas of Katherine Hayles and Deleuze and Guattari, we may reconsider how text, once circulated, acts as an extension of and a replacement for the physical body. Still, the work of these bloggers demonstrates that identification is still a personal investment that refers to and gives credit to the person behind the computer screen. This chapter reveals a productive tension between the embodied author’s work and the nature of writing as it moves through networks. In my conclusion I explain how these applications and online tools have implications for the writing classroom. Students are frequently told that good writers and thinkers must see a problem or an issue from multiple perspectives. This project focuses intensely on the work of shifting perspectives and how those perspectives are represented in writing. Its implications for teaching productive source integration and research may be applied to the first-year writing classroom but also the graduate class curriculum, where novice scholars learn to extend, oppose, and ally themselves with the scholars who have come before them

Scrutinizing the Cybersell: Teen-Targeted Web Sites as Texts

Darren Crovitz explains that the explosive growth of Web-based content and communication in recent years compels us to teach students how to examine the “rhetorical nature and ethical dimensions of the online world.” He demonstrates successful approaches to accomplish this goal through his analysis of the selling techniques of two Web sites targeted to a teen audience and his description of a project in which team members devise ways to teach students to consider the language and design elements of a selected site