, Bogost discusses how most news articles discussing the 2007 merit-based green card proposal in the U.S. Congress cut and pasted examples of how the system would function from press releases. Points of Entry, on the other hand, operationalized the proposed rules, and situated them in a game framework, giving the public a place to experiment with (and develop a deeper understanding of) the way such an approach would work in practice.

ogost re-tells two powerful stories about examples of procedural rhetoric: the first about the importance of institutional politics in education (through the Plato game Tenure) and the second about the dynamics of long-term debt (through the Nintendo game Animal Crossing)

Bogost introduces this work with a short overview of the history of rhetoric, including its expansion into areas like written and visual rhetoric.

Bogost’s procedural rhetoric is a theory about how and why to do operationalization, or other forms of procedural representation, rather than a project to operationalize certain elements of pre-existing rhetorical practice

Moreover, I would like to pay homage to Aristotle for his definition of rhetoric; it serves as a foundation of my own definition of it and its purpose in the world. To me, rhetoric is the spoken, written, or digital art, which is necessary to convince another to act on a decision in order to fix or petition for or against an issue whether it is big or small. What made me formulate this definition is paying attention to everything around me and seeing the issues spreading across the world. Take the Black Lives Matter protests or the Feminist Movement, for example. If it were not for rhetoric being present in multimodal forms, the issues that have surrounded Black Americans and women for centuries would go unnoticed and unresolved. Sure there are a lot of changes that still need to be made, but I owe it to rhetoric in all forms for allowing people all over to become aware of the problems.

Or, the job of a good rhetor could be to just simply bring awareness to an issue that is not commonly talked about or publicized. I guess I owe this idea to the well-known Greek philosopher, Socrates. After having passed away thousands of years ago, his texts and influences on rhetoric and composition still lives on.

Plus, as a good rhetor (in practice) it is wiser to know your audience and their needs, and to connect to them while having the end goal of moving their souls, and persuading them to act on the subject matter

Dr. Wharton introduced me to multimodal communication, and I used expository writing, Google timeline application, and virtual modeling to create a history of a late nineteenth-century brass compact unearthed during excavation for MARTA track construction.

Plato’s privileged view of rhetoric restricted self-expression to the elite Greek orators, men.

The CTW assignment exploring the possible causes of Alexander the Great’s death reflected Plato’s theory that texts can indeed be misleading when the authors are long dead and conclusive evidence no longer exists, if it ever did.

I changed majors

his tension leads to certain opacities or blind-spots regarding the status of media for each trajectory, which the others can supply only at the cost of their own blindness.

It is noteworthy that these three major trajectories (the naturalist, the socio-historical and the object-oriented-ontological) in contemporary media studies are incommensurable, if in perhaps unexpected ways.

What broadly characterises this trend is its commitment to a return to a full-blown metaphysics of ‘being,’ outside of any subjective or human ‘correlation.’

‘object oriented ontology’ (OOO), expressly named as such by Harman on the model of ‘object oriented programming’—but just as expressly without any further relation to computing than that

hen modulated between storage and display in an endless network of protocol-based negotiation that both severs any link to the data's semantic source and creates an ever-growing excess of data weirdly related to, but ontologically distinct from, its originating data source.

Provide examples and discuss specific research methods and genres you studied—or produced--as a Rhetoric and Composition student.

Provide examples and discuss how your reading, research, and writing are multi-modal or digital

How has your writing changed to account for audience expectations, and how do you write for different audiences?

Which specific editing and revision strategies do you regularly use as you compose texts within the major, and texts for other areas of your life (extracurricular clubs, internships, job, etc)? Where did these strategies come from (readings, assignments, peer workshops, feedback from professors)

What are your future career plans? How did specific courses, assignments, or professors prepare you for your desired career goals

How did you use collaboration or collaborative writing within your courses in Rhetoric and Composition? What did you learn from using collaboration?

What is your current definition of “literacy” or “literacy studies”? Which theories, figures, readings, assignments, or courses have most contributed to your understanding of it?

How does your current definition compare and contrast to what you thought or knew about it before taking any courses in Rhetoric and Composition and/or during your first semester of courses in Rhetoric and Composition

What is your current definition of “composition” or “composition studies”? Which theories, figures, readings, assignments, or courses have most contributed to your understanding of it?

How does your current definition of “rhetoric”compare and contrast to what you thought or knew about rhetoric before taking any courses in Rhetoric and Composition,and/or during your first semester of courses in Rhetoric and Compositionwith your understanding in your last semeste

What is the most significant assignment/textthat you have created as arhetoric and composition major, and why is it significant for you

he Sophists emphasized the development of “knowledge of fundamentals [that] becomes bodily rather than conscious,”

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.

“what is certain is that the Internet has created a ‘call-out’ culture, in which sexism or misogyny can be ‘called out’ and challenged

The tongue is a crucial organ in ancient rhetoric: it was trained, restricted, and worshiped for its essence of viable delivery.

When Philomela threatened to name him for his crime, Tereus responded by cutting out her tongue—quite literally robbing Philomela of a portion of her body, the muscle essential to taking part in public discourse (Beard, 2014).

"Multimedia Writing and Rhetoric enabled me to develop my writing skills while learning how to transform my writing style for different mediums.  The course allowed me to explore various forms of technology that do not restrict my prose to paper or a simple word processor."