Sample and Vee note the ways that code has made its way into our research and our classrooms, that programming has long looked like writing, and that in the cul...

Carnegie argues that the interface is “a rhetorical means for ensuring that the audience becomes and remains susceptible to persuasion” In other words, the inte...

Rice traces to functions of *mechanical* in rhet/comp – the historical concept of techne as one and the association of mechanics with grammar. She adds that in ...

Noting that we frequently ask students to composing in web 2.0 platforms and applications, we lack an understanding of what counts as writing in a web 2.0 envir...

Arola notes an implication of web 2.0 – the tendency to render form “standardized and invisible” – essentially rendering composing practices like web standards ...

Wysocki and Jasken argue that the computer interface is simultaneously meant to be seen and forgetten. In other words, discourse about interface use and interfa...

Prins argues for a revised understanding of writing as craft: “as a particular set of actions and relationships between people and between people and things – w...

Noting that *design* is a capacious field, includes a myriad of objects and kind of objects, Buchanan argues that design studies ought to be understood as a hum...

Identifying the process paradigm as the emerging paradigm in composition studies, Kostelnick looks toward another “field of creative problem-solving ̵...