Of course, to many in America, being a person of color is synonymous with being poor, and being poor is synonymous with being a criminal. Ironically, this misperception is true even among the poor.

Rather than uniting to face the real foe—do-nothing politicians, legislators, and others in power—we fall into the trap of turning against each other, expending our energy battling our allies instead of our enemies.

If we don’t have a specific agenda—a list of exactly what we want to change and how—we will be gathering over and over again beside the dead bodies of our murdered children, parents, and neighbors.

it’s crucial that those in the wealthiest One Percent keep the poor fractured by distracting them with emotional issues like immigration, abortion and gun control so they never stop to wonder how they got so screwed over for so long.

“Stealing a Bag of Potato Chips and Other Crimes of Resistance.”

visual images and visual thinking

wrote and drew

wrote and drew his dissertation entirely in comic book form

into teaching, learning and creativity

"For Beginners" and "Introducing" series of "graphic guides," which use images, text, and comics to summarise the work of major philosophers – in this case Derrida and Foucault.

how few women appear in this paper

earlier forms

cut down the number of words I had to use dramatically

I wrote the text by hand

multimodal forms as essentially invisible

pushing at the boundaries of what published research can be

discourse traditionally has taken the form

This is a comic that analyses other comics,

challenge the conception of an authoritative author’s "voice," as is typically found in traditional educational and academic writing.

Procedural Rhetoric

a difference in discourse

Tenure

procedural rhetoric

procedural rhetoric

Empowerment and the agency of audiences has been a contested aspect of digital media.

For example, José van Dijck challenges the idea that online platforms like YouTube signal any shift in media power because they mine the metadata of users in order to target advertising to individuals

can limit their exposure to different kinds of programmes and different perspectives

It enables us to not only to consider current television formations, but to contemplate how these connect and relate to past formations, and possible future formations.

The years of stability that Uricchio refers to could be understood as precisely a set of links that reinforce particular arrangements and by doing so block other possibilities. However, digital technology has enabled new links to form that open up the television assemblage to new forms of production and new forms of engagement.

beckons viewers to become engaged and to become players rather than passive viewers.

This means taking into account that children are not tied to temporal modes of viewing based on schedules and other expectations to do with broadcast television such as high production standards and established genres.

what is lost in this new formation?

If we think about these components as simply the actualisation of a number of possible virtulalities, then it becomes apparent that their actualisation is contingent on a variety of tendencies coming together and not the result of a linear logic.

the actual is always informed and influenced by the virtual and that, while the virtual may have an infinite number of possibilities, only some are actualised

Firstly, agency cannot be attributed to any one component or actant, human or non-human but emerges from the association of different parts.

as the nature of the system changes, its capacities or what it enables, also change. DeLanda discusses this process in terms of emergent properties.

First, because assemblages form new connections with the outside, the social itself becomes open to change.

the concept of assemblages provides a means of accounting for the formation of new kinds of connections between discrete devices, texts and applications, at times across different mediums. It enables us to think about how previous and current devices, texts and medium are reconfigured and adopt new functionalities or are modified, so as to display new qualities.

change and transformation are not simply ‘characteristics of the medium’s current phase but more generally [are] one of television’s integral features’

Internet TV

Not only does online HCI reproduce media consumption habits, butit also facilitates insulated exposure to recurrent content.8

On the Web “thepossible” that is conjured is often a possible self

“peripheral” content

a textual environment in whichcertain elements are privileged over their unlinked or uneditable counterparts—that defines the potential excursions of its “liberated” audience.

the obvious fact that audiences can disobey theserhetorical biases

dynamis(potentiality), defining it as “the art which seeksto capture in opportune moments that which is appropriate and attempts to suggestthat which is possible”

like living experience in general, as “constituting the transition ofthe continuum, and not as pieces present alongside one another each for itself”

There is nothing at all “random” about Web audiencing

“the readers’ ability to select a con-nection may give them a false sense of power over the text: links are put thereby people, and are fully as significant and potentially as manipulative as othertextual means”

the autonomy of thedigital audience has been frequently overestimated

Web audiencing isgoverned by flows through which the organizing logics of more traditional texts—such as coherence of theme and momentum of access—are remediated into theWeb experience, just as they were remediated from print media into relativelyfragmented television broadcasting

digital textualityhas given twenty-first-century audiences an unprecedented role in sequencing andeven producing the texts they consume

confronted with alluring options that have beencarefully constructed by designers and/or generated automatically based uponusers’ past activity profiles

personalize each page that a user accesses,tempting users with advertisements and customized links based upon a cookie-generated profile of his or her estimated interests

Bouncing from onesite, profile, or activity to the next, users routinely find themselves in unexpectedplaces, spending much more time on the Web than they had initially planned.

Writers produceshows that are easily dividable into acts; between these acts commercials pull theviewer deeper into the streaming flow of content, their interruptive potential soft-ened by the adoption of familiar or provocative themes, voices, or products.

For Williams flow unifies and organizes discrete yet related textual units intoa coherent sequence.

Williams’s notion of flow is characterized byfragmentation and discontinuity, elements that make flow especially suitable forthe analysis of online HCI. Fiske explains that “flow, with its connotations of alanguid river, is perhaps an unfortunate metaphor: the movement of the televisiontext is discontinuous, interrupted, and segmented” (231)—not unlike, I might add,the media experience encouraged by the World Wide Web. Keeping this in mind,there is value in developing a cautious and realistic revision of Williams’s classicconcept, highlighting its emphasis on a medium’s loose yet persistent grip on theaudience.

structured flows.

While this liberation of the audienceis an important aspect of the digital experience, the Web nevertheless confrontsus with a highly structured rhetorical environment

To analyze the Web through a rhetorical lens, rhetoricians have modified theirtraditional theories of the spoken and printed word to accommodate digital textsthat are bustling with video, still and moving images, sound, and the pervasivetemptations of hyperlinks.

the stories all ignore the woman’s personal agency

Instead, all we get is the hero quarterback

exploring the various ways that disabled people were used to make other folks think mostly of themselves

an officer would humiliate one of the boys, and the boy would respond by not cooperating or by cursing back

Many of the boys in this study often maintained their distance in the candy or soda aisles at stores to show they were not attempting to steal.

Still, Ronny, like many of the other boys, preferred to take on the risk of incarceration and the low wages that this under-ground entrepreneurship granted him in order to avoid the stigma, shame, and feeling of failure that the job-application process produced for him. Misrecognition of genuine attempts to do well in school, the labor market, or their probation pro-gram led to frustration—and to producing alternatives in which the boys’ organic capital could be put to productive use.

“Because professionals wear them.”

“The Coming Race War Won’t Be About Race”

Children’s Books

The contributions continue on Twitter.

And for the children of Ferguson, who have yet to have their first day, they may remember the smell of death, the odor of tear gas, the stench of an American tragedy.

By teaching students to access the multiple textures of human experience, they learn to see, hear, or feel more deeply than they could before.

Language communicates emotion

communicated not only with their words in formal written essays, but also with the power of visual and spatial metaphors expressed through nonverbal modes.

If play is so valuable

embodied classroom interface

The skit itself is a parody of the hearing classroom, in which the teacher delivers an oral/aural lecture, while the students express their dissatisfaction through physical mini-aggressions with their spitballs.

nonverbal, gestural, and imagined

As a Coda

that deafness is something that is gained

The human body communicates far beyond words, yet its expressive art and multisensory experiences are being abandoned for the seemingly better technologies of language-driven social media and online learning.

these technologies are limited by linguistic expression, digital access, and data collection

human technologies

These disruptions need to be powerful, bolstered by a digital presence and crafted with a rhetoric of awareness, activism, and engagement. A disruptive rhetoric must unify power and action from preexisting avenues and harness the rhetorical power of digital visibility.

the waves in which we frame feminist history should follow the model of radio waves

Hashtags as rhetorical interventions are visually powerful, working to categorize language for readers and immediately position this language within a larger visual body of work when searched for or curated in online spaces

After all, the online abuse that Beard herself experienced threatened to “rip out her tongue,” to remove the organ that allows her to verbally enact rhetoric as a woman.

She sought an alternative avenue to invention; her available means included an intervention of stereotypical “women’s work” that served to speak for her.

we must build from these scholars’ work and consider how contemporary feminist rhetoric might be bolstered, enhanced, and girded against erasure—specifically in the realm of digital writing and social media.

A system “socially agreed upon” by the existing power structures is problematic in who is “agreeing” upon these terms—largely male politicians.

Greek society was male-centric, as reflected in some of the most famous dialogues from the era.

The Sophistic movement, for example, was rooted in teaching commoners and those outside of the realm of traditional education how to speak and defend themselves in courts of law

The Greco-Roman tradition valued masculinity and class over all else, resulting in a centuries-long structure of authorial and oratorical expectations. To write or speak publicly, one must meet these criteria.

“how might contemporary feminist scholars, historians, and digital citizens use the complicated history behind us to propel a sustainable feminist rhetoric into the future?”

feminist rhetoric of intervention (her calm, impactful question caught on digital live stream) to subvert a traditionally regimented forum, enabling her to reach a wide audience that would have normally been relegated to just those within a congressional chamber.

When only words remain

Intersectional issues that we carry into digital spheres color each interaction, for better or worse. The cultural structure of online worlds are reflected and recycled from our in-person interfaces,

Feminist rhetoric is advancing feminisms online— a distinction that is important to make from “women’s rhetoric,” which is restricted to only women and does not capture the experience of feminist activists that might identify differently.

the Greek roots of rhetoric, asserting, “‘the word rhetoric can be traced back ultimately to the simple assertion I say (eiro in Greek)

Firstly, I define feminist rhetoric as any written or spoken act about feminisms

women have been relegated to the background of public speech or silenced altogether by a patriarchal structure of discourse.

thirteen-hour filibuster

But nobler far is the serious pursuit of the dialectician, who, finding a congenial soul, by the help of science sows and plants therein words which are able to help themselves and him who planted them, and are not unfruitful, but have in them a seed which others brought up in different soils render immortal, making the possessors of it happy to the utmost extent of human happiness.

this discovery of yours will create forgetfulness in the learners' souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves

rhetorician has; no need of truth

he who would be an orator has to learn the differences of human souls-they are so many and of such a nature, and from them come the differences between man and man

What power has this art of rhetoric, and when?

All of them agree in asserting that a speech should end in a recapitulation, though they do not all agree to use the same word. Phaedr. You mean that there should be a summing up of the arguments in order to remind the hearers of them.

rules of correct diction and many other fine precepts

There is the exordium, showing how the speech should begin, if I remember rightly; that is what you mean-the niceties of the art? Phaedr. Yes. Soc. Then follows the statement of facts, and upon that witnesses; thirdly, proofs; fourthly, probabilities are to come; the great Byzantian word-maker also speaks, if I am not mistaken, of confirmation and further confirmation.

our definition of love, which whether true or false certainly gave clearness and consistency to the discourse, the speaker should define his several notions and so make his meaning clear.

Is not rhetoric, taken generally, a universal art of enchanting the mind by arguments; which is practised not only in courts and public assemblies, but in private houses also, having to do with all matters, great as well as small, good and bad alike, and is in all equally right, and equally to be esteemed-that is what you have heard?

perhaps rhetoric has been getting too roughly handled by us, and she might answer:

And yet, Socrates, I have heard that he who would be an orator has nothing to do with true justice, but only with that which is likely to be approved by the many who sit in judgment; nor with the truly good or honourable, but only with opinion about them, and that from opinion comes persuasion, and not from the truth.

Why, do you not know that when a politician writes, he begins with the names of his approvers?

you are aware that the greatest and most influential statesmen are ashamed of writing speeches and leaving them in a written form, lest they should be called Sophists by posterity

I divided each soul into three-two horses and a charioteer; and one of the horses was good and the other bad:

Every one chooses his love from the ranks of beauty according to his character, and this he makes his god, and fashions and adorns as a sort of image which he is to fall down and worship.

And as he warms, the parts out of which the wing grew, and which had been hitherto closed and rigid, and had prevented the wing from shooting forth, are melted, and as nourishment streams upon him, the lower end of the wings begins to swell and grow from the root upwards; and the growth extends under the whole soul-for once the whole was winged.

And therefore the mind of the philosopher alone has wings; and this is just, for he is always, according to the measure of his abilities, clinging in recollection to those things in which God abides, and in beholding which He is what He is. And he who employs aright these memories is ever being initiated into perfect mysteries and alone becomes truly perfect. But, as he forgets earthly interests and is rapt in the divine, the vulgar deem him mad, and rebuke him; they do not see that he is inspired.

The divine is beauty, wisdom, goodness, and the like; and by these the wing of the soul is nourished, and grows apace; but when fed upon evil and foulness and the opposite of good, wastes and falls away.

There will be more reason in appealing to the ancient inventors of names, who would never have connected prophecy (mantike) which foretells the future and is the noblest of arts, with madness (manike), or called them both by the same name, if they had deemed madness to be a disgrace or dishonour;-they must have thought that there was an inspired madness which was a noble thing; for the two words, mantike and manike, are really the same, and the letter t is only a modern and tasteless insertion.

what an utter want of delicacy was shown in the two discourses

first of all agree in defining the nature and power of love

arrangement of them, for there can be none in the invention

commonplaces

promise to make another and better oration, equal in length and entirely new, on the same subject

I could make another speech as good as that of Lysias, and different

Sappho the fair

Ancient sages, men and women, who have spoken and written of these things, would rise up in judgment against me, if out of complaisance I assented to you.

he repeated himself two or three times, either from want of words or from want of pains; and also, he appeared to me ostentatiously to exult in showing how well he could say the same thing in two or three ways.

there are many more non-lovers than lovers; and if you choose the best of the lovers, you will not have many to choose from; but if from the non-lovers, the choice will be larger

lovers repent of the kindnesses which they have shown when their passion ceases, but to the non-lovers who are free and not under any compulsion, no time of repentance ever comes; for they confer their benefits according to the measure of their ability, in the way which is most conducive to their own interest.

Soc.

Will you go on?

the greatest rhetorician of the age

what an utter want of delicacy was shown in the two discourses

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