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This article revisits Richard Weaver’s concept of spaciousness as a rhetorical effect and repositions it within contemporary visual rhetoric, particularly data visualizations. Although Weaver’s account of spaciousness is rooted in a political ideology that presumes shared cultural values, the concept offers a useful lens for understanding how style operates in visual communication. Drawing on the classical Ciceronian styles, this article argues that spaciousness functions as a visual analogue of the grand style, emphasizing abstraction rather than detail. Analyses of sparklines, cartographic maps, network visualizations, and metaphor-based displays show how plain style prioritizes instruction and transparency, grand style cultivates openness and shared meaning, and middle style modulates between visual scales through perceptual or interactive zooming. The article demonstrates how stylistic spaciousness in data visualization reinforces cultural assumptions about connectivity, complexity, and knowledge, offering a rhetorically grounded approach to studying visual style.

Building on Nancy Fraser’s (1990) theorization of transnational public spheres, this study examines protest rhetoric of Ghanaian environmental activists who use social media platforms such as Instagram, Facebook, Twitter to protest illegal mining (galamsey). I argue that these activists, locally in Ghana and across the diaspora, construct what I call a Transnational Environmental Counterpublic (TEC) to mobilize, raise awareness and influence policy decisions in Ghana. Drawing on multimodal discourse analysis, I examine protest rhetoric across hashtags, viral posts alphabetic and visuals, and non-human materialities (colors, paper, cloth) to understand how networks of activists contest environmental injustices. This analysis shows that protest rhetoric is not only shaped by embodied and material actants, but they also contest the dominant narrative of land exploitation, extractive capitalism, and ecological responsibility in Ghana. I call on the field to recognize the value of transnational rhetorical practices and their role in shaping global conversations on environmental justice, digital activism, and transnational coalition building.

Becoming an AARP-designated “age-friendly'' state is a five-year project, and states who choose to do so, often create a website devoted to policy efforts and initiative updates. On these websites, visual rhetoric and writing play a central role in communicating with the public. These websites have implications for how aging is represented and who is included in this online space, both in photographs and in a website’s alternative text (alt text). To conduct my analysis, I selected three “age-friendly” state homepages and used a framework of text and image integration (Shriver, 1997) and accessibility (Horton & Quesenbery, 2013). My analysis revealed that “age-friendly” state pages must provide greater representation of what aging can look like and should include informative and useful alternative text. I also analyzed the Age-Friendly Minnesota site for the network of digital tools (Spinuzzi, 2015). Through this analysis, I found evidence of an ethos of transparency being developed through a large amount of content being made available online, including meeting videos, which captured both efforts to be accountable to the public and moments of adapting to technology. In giving users access to the unedited meetings, they gain access to the mundane and necessary coordination of technology as well as a greater understanding of the process for developing policy.

The literature review and appraisal assignment is a core foundational component of the writing emphasis course for undergraduate nursing students. The assignment traditionally focuses on navigating databases to locate scholarly research, synthesizing research findings across the literature, and learning APA format. Often, however, students conflate effective writing in the discipline as demonstration of correct APA format. This essay describes a pedagogical innovation that integrates reflective writing and a multimodal infographic component. The changes shift the student focus toward communicating evidence-based, person-centered care, which also promotes metacognition and genre awareness as students connect scholarly literature to culturally congruent care in their future clinical practice.

Using a multiple case-study approach, this study investigated the dynamics of peer interactions that took place through Microsoft Copilot among six pairs ( n  = 12) of ESL learners, focusing on their interaction patterns, use of semiotic and multimodal resources, and functions of languaging. Our analyses illustrated that four pairs displayed collaborative orientation, one pair demonstrated an expert-novice pattern, and one pair exhibited a dominant-passive pattern. It was also found that while the collaborative group students focused more on text search and revision, the expert-novice group and the dominant-passive group allocated more time to image generation. Furthermore, in terms of languaging functions, our results revealed that all six pairs of students spent most of their time negotiating writing content. Our study has implications for technology-enhanced multimodal writing pedagogy in a generative artificial intelligence machine-in-the-loop setting.

To illustrate how environmental aesthetics shape present-day science communication pedagogy, this article situates contemporary science communication in the context of the American environmental writing tradition, drawing from the field reporting techniques of William Bartram as a form of artist's study. We use teaching case examples to demonstrate how the aesthetic experience of scientific knowledge—the acts of etching, visiting, feeling, and being in nature—ultimately contributes to better practices and pedagogy for technical illustrations, as well as more accessible entry points for scientific and technical communicators and their audiences. We present such examples of field-based writing, visualization, and multimodal projects from an undergraduate environmental writing course and a graduate science writing course to locate the role of aesthetics in natural history and contemporary science communication, contributing to a deeper engagement with the field's interdisciplinary history.

In primary education, children frequently combine drawings with alphabetic writing in their compositions, and research has shown that drawing can support early writing development. Building on existing research on multimodality and intermodality in early writing, this study examines how drawing and writing function together in children’s multimodal compositions produced for diverse social purposes. The study analyses multimodal texts written by Swedish learners aged 7–8 years and explores intermodal relations between writing and drawing using a systemic functional, transitivity-based analytical approach. The findings indicate a predominance of word-led and combinatory intermodality, with alphabetic writing generally assuming a dominant role. At the same time, children strategically integrate drawing and writing in ways that vary according to social purpose, task theme, and the specific affordances of each mode. In several cases, drawing enables the expression of meanings that are less readily conveyed through writing alone, underscoring its distinct representational potential. The study contributes to ongoing work on intermodality in early school writing by demonstrating the analytical affordances of transitivity for examining multimodal meaning-making, and it highlights the need for pedagogical practices and teacher metalanguage that support flexible movement across semiotic modes in early literacy education.

Abstract In this paper, we propose a conceptual framework to understand and examine the argumentative content in multimodal protest. Protests arise in public controversies when people are dissatisfied with the way institutions deal with problems in society, and when conventional routes for addressing these issues are deemed problematic, especially for the powerless. Protest typically involves not only verbal expressions, but also the use of images, and bodily performances. While protest and other forms of activism are extensively explored from various perspectives, its argumentative role is understudied. In this paper, we show that protest not only contributes to public controversies through intervention (e.g. social or cognitive pressure), but also through communication. The argumentative value lies in the (multimodal) communicative dimension of protest: we can understand protest as a communicative act that uses multimodal means to express disapproval about something and to advocate a remedy. We argue that protest contributes arguments to a public controversy by (1) expressing a core argument that addresses potential critical reactions to the claims intrinsic to any protest, and by (2) providing, what we call, proto-arguments, i.e. pieces of information that the audience can use to argue in support of the protest at future occasions. Using the case study of Extinction Rebellion’s highway blockades in the Hague in the Netherlands, we illustrate the pattern of the core argument of protest and three types of proto-arguments. By broadening the scope of argumentation, we invite argumentation scholars to take multimodal protest seriously.

In technical and professional communication (TPC) there have been calls to locate the field in transnational contexts. Aligned with the social justice turn in TPC is an emergent body of critical and decolonial scholarship attending to power, privilege, and positionality. The following study extends this scholarship through attention to these issues in an emergent startup ecosystem in the occupied Palestinian territory (oPt). Grounded in mobility studies, this telling case attends to the strategic manner in which a female entrepreneur navigates this system through a process of networking, or knotworking, as she navigates both patriarchal and colonial systems of oppression. Central to this process is the complex way she mobilizes a multimodal and spatial repertoire—conceptualized as repertoires of resistance. These moves shape not only the ways that she traverses the social, semiotic, and geographic landscape, but also the shifting nature of the landscape itself. Methodologically such moves entail a conceptual shift from a focus on activity systems to mobility systems.

• Year 7 students can learn to code engaging animated narratives with basic Scratch. • English teachers can learn to sufficient coding to support students coding stories. • Student animated narratives of 2 – 3 min can meet English curricula requirements. • Student multimodality use can be evaluated using a criterion-based framework. • Student coding proficiency can be extended through coding animated narratives. Coding animated stories in the English classroom has been advocated from over a decade ago as an integrated curriculum context for early teaching of computer programming while simultaneously developing students’ multimodal narrative authoring. However, related research has not adequately addressed English curriculum requirements for narrative creation. This article describes the development of a framework for analysing coded animated stories from the perspective of English curriculum expectations. Analysis of 23 stories showed substantial variation in the emphasis given to different multimodal resources among those stories with the most extensive use of such resources. Stories with limited use of these resources excluded those expressing characters’ emotions and positioning the audience to experience the story from a variety of points of view. Stories with extensive multimodal expression were at the upper, but not necessarily highest, coding proficiency levels, while some with high coding proficiency showed limited use of multimodal resources. Implications are drawn for coding as an engaging creative tool in English classrooms.

While methods associated with community-engaged research have traditionally included surveys, interviews, workshops, and stakeholder feedback, this article argues that the affordances of eye tracking make it a strong candidate for use in community research contexts. Because eye tracking is grounded in experiential metrics that describe—rather than prescribe—how participants engage with multimodal work, the method encourages genuine engagement with written and visual materials, inviting the experience of a broad range of participants. Using examples of eye tracking data collected as part of three previous community research initiatives, I argue that eye tracking can bolster community-engaged research by (a) reflecting a multiplicity of reader experiences, (b) revealing how design choices impact cognitive load, and (c) fostering reflection on strengthening community engagement. While eye tracking has often been used in educational and academic settings, community-engaged research projects offer an opportunity to expand the impact of the method, benefiting the work of researchers, writers, and designers as well as the communities they serve.

This qualitative study investigates how writing instructors compose feedback in multimodal digital environments, focusing on the rhetorical and relational dimensions of their design choices. Drawing on social semiotics and multimodal composition theory, the study analyzes feedback artifacts, instructor interviews, and student surveys from six first-year writing courses. Findings reveal that instructors engage in complex feedback design work across communication modes, often without formal training or shared frameworks. Instructors tended to default to text-based habits shaped by genre memory but adapted their strategies in response to communicative breakdowns and student needs. The study identifies three core themes: reliance on print-era conventions, rhetorical problem-solving through modal layering, and ambiguity in feedback interpretation. Despite these challenges, instructors demonstrated creativity and care in their attempts to communicate clearly and relationally. The article calls for a rhetorical framework to support multimodal feedback design, emphasizing the need for pedagogical reflection, professional development, and student co-interpretation. As genAI and platform automation continue to evolve, the findings underscore the importance of feedback as a site of human judgment and presence. The article concludes with recommendations for instructors, writing programs, and institutions to better support feedback as intentional, relational work.

Abstract Generative AI tools hold significant promise for transforming humanities classrooms into spaces of innovation, creativity, and ethical inquiry. This article presents a framework for integrating AI ethics and experimentation with generative AI platforms in English studies classrooms while applying a lens of science fiction and multimodal storytelling.

Video games are forms of multimodal technical communication, conveying complicated information about game goals, mechanics, game physics, and more, to the player in a way that usually feels integrated into the game itself. This article highlights ways that games use interaction to convey information to players, classifying the communicative elements in several popular games into C.S. Pierce's classes of sign (decoratives, indicatives, and informatives). This paper asserts that technical communicators can take cues from video games to design technical communication products that better meet contemporary users’ expectations of agency and interaction—allowing them to explore and discover on their own.

In place of (or as a complement to) “user experience research,” we propose “reader experience research” as a technique for tracing how contemporary readers make meaning through a host of social-semiotic modes. Significantly, such modes are always already conditioned by cognitive, social, economic, and technological factors. To illustrate how reader experience research can account for such factors, we describe the emergence of our institution’s Reader Experience Lab. We illustrate through three experiences how the lab (and reader experience research, in general) offers opportunities for gaining insight into how contemporary readers make meaning in and/or despite what Dan Keller terms a “culture of acceleration.”

People working at the intersection of composition and user experience often serve as the connective material that binds content to use. In merging fundamental skills of both in multimodal UX, practitioners position themselves as essential mediators connecting technical information, storytelling, and technologies that carry impactful messages across disciplines, audiences, and contexts. Building on previous work that advocates for the power of narrative in AR/VR storytelling, we demonstrate how combining the composing strategy of narrative layering with user testing can guide the creation of inclusive, community-centered VR experiences. To illustrate the power of this capacity, we ground our analysis in the design of a Virtual Reality experience about advanced water purification, outlining a method for how narrative layering and UX testing can be woven together to address a variety of perspectives through interdisciplinary, layered storytelling. In doing so, we argue that multimodal UX is most powerful when it blends the needs of a range of audiences to build stories that communicate complex information in an inclusive and engaging way.

User experience (UX) as both a vocation and a skillset is currently in the center of a wicked knot: emerging technologies such as generative artificial intelligence (GenAI) and large language models (LLMs) are (for the moment) widely accessible in unprecedented ways and are already heavily integrated into modern workplace practices and educational spaces. Further, workplace demands have led to a change in perception of the function and value of UX, and the field is facing new obstacles to hiring and research funding. Our article argues that a resituation of UX is needed: we-as instructors and administrators-need to focus on UX as an act of slow, embodied, and multimodal UX composition. To do this work, we offer the strategy of détournement as central to UX curriculum and preparing students for design work in a variety of rhetorical situations, expressed through our example assignments for instructors to implement within the college classroom.

Content personalization or tailoring content as per the needs of users has been a focus of technical communicators’ work since a very long time. Recently, algorithms have helped trace users’ characteristics such as devices they use, platforms they work on, local language spoken, etc. to personalize content through strategies like responsive content, automatic translation and so on. AI tools have extended algorithmic capabilities for personalization, but at the same time increased the randomness of personalized content. That is, algorithms produce different results for the same user at different times or different results for different users at the same time with the same prompt thus shifting the agency of both rhetors (or content creators) and the audience (or content users). While conventional technical communication pedagogy has focused on writing for users, and more recently on writing for algorithms which serve the users, today it is crucial to understand how technologies like AI impact knowledge consumption processes from a user experience perspective? And how can we teach content personalization and adaptive techniques in the increasingly digital spaces of audience interactions? These questions motivated our research. To follow the roles of algorithms and technical communicators closely, we analyzed three different case studies where algorithms are responsible for a high level of personalization beyond the decisions made by technical communicators. Our findings suggest that we must teach students to investigate concepts such as user personas in UX for understanding audiences, several methods of decision-making for content assets, and rhetorical ecology for a holistic view of content production to dissemination.

This article explores the intersections of queer subjectivity, community storytelling, and recovery literacy through the digital storytelling project, Voices from Rock Bottom (VFRB). Drawing on feminist and queer theoretical frameworks, including queerstory of recovery (Bacibianco) and the concept of rhetorical velocity (DeVoss and Ridolfo), this research highlights how VFRB creates an inclusive multimodal platform for recovering alcoholics and addicts to share their stories beyond the privatized, hegemonic spaces of Alcoholics Anonymous (AA). This article argues that VFRB’s feminist construct creates a civic space where queer recovering alcoholics and addicts can resist institutionalized constraints, perform their stories, and engage in collective knowledge-making. Ultimately, this study advocates for a broader understanding of recovery storytelling as a communal act of dissent that empowers queer individuals to challenge hegemonic frameworks and offer new ways of knowing, being, and narrating recovery experiences in the public sphere, through what the author terms as “queerstory of recovery.” Keywords: Voices from Rock Bottom, queerstory of recovery, recovery literacy, queer subjectivity, queerstory, queer rhetoric, recovery rhetoric

This study examined preservice teachers’ (PTs’) multimodal and multigenre writing portfolios advocating for change in the teaching profession. Using theories of humanizing education and Janks’s framework of Big P and little p politics, this study analyzed how PTs used writing as professional resistance and a means to heal their own schooling harms and to envision a more inclusive future for students. The findings elevated how PTs engaged as writers to see teaching as a political engagement and transformative act within the educational climate of control, compliance, and conformity. Implications for the field included possibilities to expand professional agency and supporting future teachers in confronting the political and relational complexities of their work through authorship and sharing their voices and advocacy broadly.

Building on scholarship that recognizes writing as a rich site of identity negotiation, this study introduces a sociolinguistic analytic frame based on Tannen’s multidimensional power/connection grid and multimodal and visual grammars to explore young writers’ identity work. By integrating Tannen’s framework with an identity and positioning lens, we show how children’s self-authoring reflects ongoing negotiations of status and connection, either affirming how they see themselves or challenging how others position them as writers. Using an interpretive case study of two first graders, we argue that writing identity work involves continuously maneuvering and negotiating levels of connection (closeness and distance) and status (hierarchy and equality) through literacy practices. Our findings reveal how these micro-level linguistic and multimodal negotiations unfold multidimensionally and shape identity and positioning, offering insights for educators to better support students’ writing identity development.

In Visualizing Captions and Subtitles: The Embodiment of Accessible Multimodal Communication , Janine Butler visualizes captions and subtitles as instruments of connection that embody how we all communicate with each other through multiple modes and languages, including bodies, voices, and signs.

Discussions about multimodal argumentation have long been hindered by doubts about whether non-verbal artifacts can express propositions. The opponents of multimodal argumentation have stated that semiotic modes other than language lack the precision required to express verifiable statements about the world. The aim of this article is to demonstrate that the account of propositions presented in speech act theory is suitable for analyzing multimodal communication, which is why multimodal argumentation can be studied in the pragma-dialectical tradition. By connecting Searle’s approach with the pragma-dialectic argumentation schemes, I suggest that the propositional act is constructed of three, and not two, elements: referring expression, predicating quality, and proposition scheme, the latter being a characterization of the relationship between the first two. I derive proposition schemes directly from argumentation schemes, noticing that the pragma-dialectical argumentation schemes actually characterize the relationship within propositions, and not between them. Based on that notion, I argue that when interacting with seemingly ambiguous multimodal artifacts, the receiver automatically chooses the most probable connection between the referring expression and the predicating quality from the list of proposition schemes, explaining why multimodal communication can be easily interpreted intuitively. Finally, I analyze several argumentative examples to illustrate how the proposition schemes can be used in reconstructing the reasoning expressed multimodally.

Typically, one might expect a review to highlight similarities, but here, I choose to place these books side by side for their contrasting perspectives.Before delving into the essence of the comparisons, it is important to recall the mission of the AK Peters Visualization Series.This series aims to capture what visualization is today in all its variety and diversity, giving voice to researchers, practitioners, designers, and enthusiasts.It encompasses books from all subfields of visualization, including visual analytics, information visualization, scientific visualization, data journalism, infographics, and their connection to adjacent areas such as text analysis, digital humanities, data art, or augmented and virtual reality ("AK Peters Visualization Series," n.d.).Both authors are practitioners who bring their expertise in communicating through visualized information and data.Jen Christiansen, who graduated in geology and art, is a senior graphics editor at Scientific American, while Nancy Organ, formally trained in statistics, has experience as a data visualization designer and educator.Each utilizes her unique skills for effective communication.Traditionally, rhetoric is understood as "a discipline concerned with the effective use of language, to persuade, give pleasure, and so on" (Matthews 2007).While this definition seems self-evident, it is essential to note that contemporary rhetoric encompasses all modes of communication.Interestingly, practitioners, educators, and researchers frequently refer to "the language [bold -EM] of data visualization," exploring its grammar, vocabulary, and stylistics (DataVis Lisboa 2020; "Visual Vocabulary," n.d.; Ben-Joseph 2016; Kandogan and Lee 2016).This context invites a closer examination of three key aspects: first, how various authors describe persuasive communication through information and data visualization, or as some call it, data storytelling; second, how to expand our rhetorical framework to include data, numbers, and statistics; and third, a deeper exploration of the audiences-crucial for rhetoricians-of data and information visualizations.As Burns et al. (2020) state.When designers create visualizations for communication, they make choices about encoding and design that they think will accurately and persuasively communicate their interpretation of the data.The ultimate interpretation of a visualization depends on both the designer and the reader. InventioBoth books target distinct audiences, as indicated by their titles.Building Science Graphics serves as both a textbook and a practical reference for anyone looking to convey scientific information through illustrations for articles, poster presentations, and beyond ("AK Peters Visualization Series," n.d.).In contrast, Data Visualization for People of All Ages is more approachable, specifically aimed

This essay argued that, in the post-Dobbs era, reproductive justice-themed mural art serves a memorializing function as well as a site of utopic imagining in a time of declining access to reproductive healthcare. The author has used personal experience as a clinic escort to ground a visual rhetorical analysis of three reproductive justice-themed murals across the United States. The essay has identified recurring aesthetic elements in the murals’ compositions, including the female gaze, flowers in bloom, haloes, bold directional symbols, and affirming text. Drawing on reproductive justice scholarship and feminist rhetorical theories of place, the author argued that these aesthetic elements counter fetal personhood rhetoric and assert reproductive justice principles.

This piece juxtaposes two games created with generative AI: a commentary on the challenges of being an administrator handling competing demands regarding the use of generative AI, and a similar game structure centered on the digital humanities. Together, these two works offer a commentary on the conversations around generative AI in the humanities and a demonstration of the increasing value of these tools as part of multimodal composition.

This article examines how students use and perceive digital writing tools, including chat platforms and generative AI, within academic writing environments. It describes a qualitative study of 15 undergraduate students in guided focus group discussions. In a grounded theory analysis of focus group transcripts, the researchers explored undergraduates’ sense of copresence—their perception of support through both human interaction with both peers and instructors and AI technologies during their writing processes. Findings reveal that students’ trust in both peer feedback and AI assistance plays a crucial role in their writing, shaping their decisions about which tools to use and how they integrate human and AI feedback in the development and revisions of their writing. The study sheds light on students’ nuanced understanding of the affordances and limitations of multimodal chat platforms and generative AI technologies. We conclude by highlighting the need for pedagogical practices that support students’ choice of tools when collaborating in digital spaces. We suggest future research directions that will enable us to better understand how copresence and trust influence students’ writing in these contexts.

This article makes a case for the importance of integrating public writing pedagogy in and beyond second language (L2) writing classrooms. Public writing is defined as a situated, distributed act of engaging public audiences through writing, with various semiotic resources and modalities, to make meaning, connect, and bring about social change. L2 writers practice public writing deliberately or unwittingly, for various personal or political purposes, and within various discursive contexts. However, such practices are underresearched, undertheorized, and underdiscussed in L2 writing classrooms, which could be partially ascribed to the disciplinary disposition of the field L2 writing and to the ethical concerns regarding cultural assimilation. The article begins by contextualizing the definitions of public writing in relation to L2 writing. It then explains why it is important to discuss public writing in an L2 writing classroom and consider public writing a legitimate L2 writing issue while acknowledging the pedagogical resistance. In particular, the article highlights the decolonial potential of practicing public writing in an L2. In the final section, the article offers pedagogical guidelines and a graphic framework concerning the “where” and “how” of teaching public writing in an L2.

Composing with AI provides research about the rise of generative AI in composition studies, focusing on histories, policies, reports of classroom and student use, multimodal composing and teaching AI literacies.

Advanced technologies and other rapid changes in the global business environment, especially following the pandemic of 2020, have fundamentally disrupted how, when, and where we work. Through design thinking, business communicators can reenvision the affordance of traditional rhetoric to thrive in this new workplace. The article opens with a scenario based on the postpandemic problem of accommodating a hybrid style of work and then describes how the mindset and method of design thinking transform traditional rhetoric. Grounded in empathetic collaboration, design thinking positions rhetoric as a recursive, nonlinear, and nimble process and provides new perspectives on rhetoric’s time-tested persuasive appeals.

For those like me who were eagerly awaiting the publication of the second edition of Document Design: From Process to Product in Professional Communication , you will not be disappointed! The new edition exceeds my expectations for updated content and examples—while staying true to the original focus on design theory and principles in practice. It balances foundational aspects of visual rhetoric and usability, while providing new insights on digital technologies and production.

At a moment when questions of equity and access are reshaping higher education and professional practice, technical and professional communication (TPC) is undergoing a "social justice turn" that centers ethics, equity, and care within its research and design practices. Designing for Social Justice: Community-Engaged Approaches in Technical and Professional Communication (edited by Jialei Jiang and Jason C. K. Tham, 2025) situates itself squarely within this movement, framing justice not as an optional theme but as a guiding principle for communication design. Jiang and Tham note that this collection "explore[s] the intersection of multimodal design and community engagement for social justice" (p. 3), and they introduce design advocacy to capture this orientation.

By Taylor J. Wyatt. Any discussion about multimodal composition inevitably invites the question: “What counts as writing?” This question of what “counts” often reveals an underlying assumption that multimodality lacks adequate academic rigor. “What counts as writing” leads to further considerations, such as identifying pedagogical strategies to help students expand their knowledge in new writing contexts and genres. In their 2016 edited collection, Chris M. Anson and Jessie L. Moore define transfer “as the ability to repurpose or transform prior knowledge for a new context” (370). As they offer their definition of transfer, Anson and Moore note the complexity of the term and write, “for many scholars transfer functions as an umbrella term, encompassing an array of theories about the phenomenon” (370). Kara Poe Alexander, Matthew Davis, Lilian W. Mina, and Ryan P. Shepherd’s edited collection Multimodal Composing and Writing Transfer considers writing transfer and what counts as writing within a multimodal context.

The article considers the subject of art/science intersections by presenting the affinities between the mathematician Benoit Mandelbrot and the visual artist Tadeusz Mysłowski. In the Introduction, their encounter is contextualized in an overview of earlier approaches to the study of such intersections, especially the changes in rhetorical theory and practice which led to the so-called rhetorical turn in the last decades of the 20th century. In Part 2, the evolution of visual rhetoric and the rhetoric of mathematics as autonomous subject areas within the broader field of rhetoric is discussed as constituting crucial parallel developments that now provide scholars with adequate tools to analyze and describe instances of rhetoricization of scientific and artistic communication. In Part 3, the example of the Mandelbrot/Mysłowski conjunction is scrutinized to bring out the rhetorical ramifications of their respective geometries – of fractals in the case of the mathematician and of elemental geometric-organic forms in the case of the artist.

The article presents the results of a multimodal analysis of the covers of British, German, and Polish opinion weeklies, aiming to identify language-image configurations that we term verbal-visual collocations. In our view, verbal-visual collocations give rise to so-called visiotypes, which we define as ubiquitous, one-sided, highly simplifying, standardised visual routines for perceiving reality. These are processed automatically and reflexively, often without the support of verbal cues. They significantly influence and shape the awareness of specific discourse communities. As media-staged, connotation-rich, and highly symbolic images present in the public sphere, visiotypes reflect universal patterns of thought, similar to stereotypes, and are increasingly employed on magazine covers. Since visiotypes represent specific condensed and established combinations of image and text, we utilize a modified version of the model by Stöckl (2011, 2016) and Stöckl and Pflaeging (2022) for their multimodal analysis. Keeping pace with current times, we focus on key figures in international politics: Donald Trump and Vladimir Putin. The analysis addresses questions such as which stereotypical representations and images of these politicians are (re)produced or evoked on the verbal and visual levels and what relationships between verbal and visual codes (possibly metaphorically reinforced) are employed to present the editorial stance on the cover and/or shape and reflect readers’ opinions. Furthermore, one of the goals of this analysis is to examine whether the category of verbal-visual collocation appears adequate and scientifically justified.

Jennifer L. Bay is professor of English at Purdue University, where she teaches undergraduate courses in the professional and technical writing major and graduate courses in technical and professional writing, community engagement, experiential learning, and rhetorical theory. Her work has appeared in journals such as the Journal of Business and Technical Communication, Journal of Technical Writing and Communication, IEEE Transactions on Professional Communication, and Technical Communication Quarterly.Felisa Baynes-Ross is an assistant course director of English 1014 (writing seminars) and senior lecturer in English at Yale University where she teaches courses in expository writing, creative nonfiction, and pedagogy. Both in her teaching and writing, she is interested in aesthetics of dissent, which she explores in medieval polemical treatises and poetry and historical narratives on the Caribbean. Her published work appears in the Journal of Medieval and Early Modern Studies, Caribbean Quarterly, and The Caribbean Writer.Caitlin Cawley is the assistant director of the writing program and an advanced lecturer of English at Fordham University. She teaches courses in twentieth and twenty-first-century American literature, composition and rhetoric, critical theory, and film studies. Her scholarship has appeared in the Journal of the History of Ideas, Journal of American Studies, The Faulkner Journal, and The Oakland Review and has received generous support from the US Army Heritage Center and the National Endowment for the Humanities.Tracy Clark is a senior lecturer in the Professional Writing program at Purdue University. Research interests include accessibility and usability, public health communication, multimodal content development, and the intersection of gender identity and neurodiversity in technology use.Garrett I. Colón is a doctoral candidate in the Rhetoric and Composition program at Purdue University and the assistant director of content development for the Purdue OWL. His research interests include technical and professional communication, user experience design, community engagement, and writing across the curriculum.Adrianna Deptula is a current doctoral student in the Rhetoric and Composition program at Purdue University. Her research interests include science, technology, and medicine (STM); patient advocacy; and new materialism.Shelley Garcia is associate professor of English at Biola University where she teaches courses on race, gender, and culture in American literature, as well as composition and rhetoric. She has published on Chicana feminist authors who write across genre, focusing on the intersections of form, identity, and resistance. Additional research interests that have emerged from her teaching include the role of literary studies in developing intercultural competence, the theme of abjection in Toni Morrison's novels, and representations of the femme fatale in American modernist fiction.Eliza Gellis is a recent graduate of the Rhetoric and Composition doctoral program at Purdue University. Her research interests include comparative rhetorics, public and cultural rhetorics, rhetorical theory, and pop culture.Caroline Hagood is an assistant professor of literature, writing, and publishing and director of Undergraduate Writing at St. Francis College in Brooklyn. Her scholarship has appeared in journals including Resources for American Literary Study, Texas Studies in Literature and Language, Pennsylvania Literary Journal, and Caribbean Literature, Language, and Culture.Emily Rónay Johnston is an assistant teaching professor in writing studies at the University of California, Merced, and a New Directions Fellow through the Andrew W. Mellon Foundation. She holds a PhD in English studies from Illinois State University, an MFA in creative writing from the University of Alaska, Fairbanks, and a BA in women's studies from the University of California, Davis. Prior to academia, she worked in a domestic violence shelter and an addiction recovery center for women. She has published articles on the relationship between writing and adversity, as well as the restorative promises of writing pedagogy in the face of adversity, in College Composition and Communication (2023), Writers: Craft & Context (2022), Rhetoric of Health and Medicine (2020), and elsewhere.Pamela B. June is associate professor of English at Ohio University Eastern, where she teaches women's literature, American literature, literature and social justice, and writing courses. She is the author of two books, Solidarity with the Other Beings on the Planet: Alice Walker, Ecofeminism, and Animals in Literature (2020) and The Fragmented Female Body and Identity: The Postmodern, Feminist, and Multiethnic Writings of Toni Morrison, Theresa Hak Kyung Cha, Phyllis Alesia Perry, Gayl Jones, Emma Pérez, Paula Gunn Allen, and Kathy Acker (2010). In 2021, she earned the Ohio University Outstanding Professor Award in Regional Higher Education.Nate Mickelson is clinical associate professor and director of faculty development in the Expository Writing Program at New York University. He is author of City Poems and American Urban Crisis, 1945 – Present (2018) and editor of Writing as a Way of Staying Human in a Time That Isn't (2018). Nate's scholarly writing has appeared in Criticism; Journal of Modern Literature; Journal of Urban Cultural Studies; Learning Communities Research and Practice; and Journal of College Literacy and Learning.Ryan Michael Murphy is an assistant professor of business communication in the department of business information systems at Central Michigan University. He completed his PhD in rhetoric and composition at Purdue University in 2022. His current research focuses on the transfer of knowledge and skills between academic and nonacademic settings with a special interest in the ways business communication pedagogy can better recognize the experiences and knowledge students bring into the university.Jenni Quilter is executive director of the Expository Writing Program and assistant vice dean of general education in the College of Arts and Sciences at New York University (NYU). She is author of Hatching: Experiments in Motherhood and Technology (2022) and Painters and Poets of the New York School: Neon in Daylight (2014). She's currently writing and publishing about silent cinema, bodybuilding, Zeno's paradoxes, Afro-futurism, North African piracy, Norway, and animal migration. Quilter won NYU's Golden Dozen Teaching Award in 2014.Sahar Romani is a clinical assistant professor in the Expository Writing Program at New York University (NYU), where she teaches in the College of Arts and Sciences. She has published poems and essays in Guernica, Poetry Society of America, Entropy, The Offing, The Margins and elsewhere. She's received fellowships from Poets House, Asian American Writers’ Workshop, and NYU's Creative Writing Program.Megan Shea is a clinical professor and faculty mentor in the Expository Writing Program at New York University, where she teaches in the Tisch School of the Arts. Shea is the author of Tragic Resistance: Feminist Agency in Performance (2025). Her articles have been published in Theatre Journal, Theatre Topics, and the Journal of Dramatic Theory and Criticism. Shea is also an actor, director, and playwright. Her gender-bending play Penelope and Those Dang Suitors was selected as a 2018 winner in Hudson Valley Shakespeare's ten-minute play contest.Christina Van Houten is a clinical associate professor in the Expository Writing Program at New York University, where she teaches in the Tandon School of Engineering. She is completing her first book Home Fronts: Modernism and the Regional Framework of the American Century. Her articles have been published in Comparative Literature Studies, Women's Studies, Politics and Culture, and Workplace: A Journal of Academic Labor.Bethany Williamson is associate professor of English at Biola University, where she teaches courses in British and global literatures, literary theory, and academic writing. Her current interests include ecocritical approaches to the long eighteenth century and articulating the humanities’ value in the age of artificial intelligence. She is the author of Orienting Virtue: Civic Identity and Orientalism in Britain's Global Eighteenth Century (2022), as well as articles in journals such as Eighteenth-Century Fiction, the Journal for Early Modern Cultural Studies, South Atlantic Review, and ABO: Interactive Journal for Women in the Arts, 1640–1830.Elisabeth Windle is senior lecturer of English and women, gender, and sexuality studies at Washington University in St. Louis, where she teaches advanced writing courses and introductory courses in gender and sexuality studies, as well as courses on queer US literature, true crime, and contemporary fiction. She formerly taught in the College Writing Program. Her work has been published in MELUS and Camera Obscura.Mira Zaman is an associate professor of English at Borough of Manhattan Community College, City University of New York. Her research centers on representations of the devil in eighteenth-century British literature, and she is also passionate about teaching composition and rhetoric. Her scholarship has appeared in Persuasions, ANQ, Marvell Studies, and Eighteenth-Century Life.

Abstract Drawing from new and foundational scholarship in the field and from our experiences as teachers at a range of institutions, the authors consider how multimodal learning can support antiracist classrooms. This article emphasizes the value of cross-institutional collaboration, as the authors make a collective case for remixing the essay in first-year composition. This term denotes a method for building on the traditional college essay through activities and assignments that allow students to reevaluate and repurpose this well-established genre. The authors offer four case studies for remixing the essay—“Multimodal Translation: Playing with Post-Its” (Borough of Manhattan Community College /City University of New York), “Remixing Activism: The Essay as Personal and Political Playlist” (St. Francis College), “NYC Graffiti Autoethnography” (Fordham University), and “‘Vernacularity and Translation Activity” (Yale University). All four narratives present practices that support critical agency and linguistic justice by addressing the conventions of college writing assignments. Together, the authors offer a useful practice for composition instructors seeking to implement antiracist and multimodal instruction as well as a generative concept for administrators developing new writing curricula.