Porter, James E., Patricia Sullivan, Stuart Blythe, Jeffrey Grabill, and Libby Miles. “Institutional Critique: A Rhetorical Methodology for Change.” CCC 51.4 (2000): 610-642.
I was just leafing through Latour’s Reassembling again. I can’t
quit this damn book. I keep picking it up, leafing around, mulling
over the marginalia, adding underlines, junking up the edges of the pages with
more check marks and asterisks.
Margaret. The Wealth of Reality: An Ecology of Composition. Carbondale:
Southern Illinois Press, 1999.
Matthew. Media Ecologies. Cambridge, MA: MIT Press, 2005.
Bruno. We Have Never Been Modern. Trans. Catherine Porter. Cambridge,
Mass.: Harvard, 1993.
Nardi, Bonnie A., and Vicki O’Day. Information Ecologies: Using Technology with Heart.
Cambridge, Mass.: MIT Press, 1999.
David R. "Rethinking Genre in School and Society: An Activity Theory
Analysis." Written Communication 14 (1997): 504-54.
Cynthia L. "Technology and Literacy: A Story about the Perils of
Not Paying Attention." CCC 50.3 (1999): 411-436.
Steve Berlin. Interface Culture: How New Technology Transforms the
Way We Communicate. San Francisco: Harper Edge, 1997.
Technology, democracy (explicit in the subtitle), rhetoric education and
curricular reform recur as themes in Lanham’s The Electronic Word.
The book sets out with an overarching consideration of the material,
instrumental and ideological transitions in the interfacial revolution from book
to screen. The screen has rattled the "reign of textual truth" (x), opened
up the meaning of "text," and, consequently, challenged traditional-humanist
rationale for moralistic training via literary works (lots on the Great Books
debate here) . EW is set up for reading as a continuous book and also as
discrete chapters, according to Lanham; the chapters make frequent intratextual
reference (i.e., "In chapter 7, I…"). He gives readings of
rhetorical/philosophical traditions and more recent –phobe and –phile
orientations toward microcomputers and related computing activities–activities
he regards as deeply rhetorical and thoroughly transformative for commonplaces
about text, decorum, higher ed, and the humanities. EW is probably
one of the earlier takes on a digital rhetorics, even if he frames a compelling
range of precursors (xi)–"a new and radical convertibility" of "word image and
sound" (xi) staged in Cage’s experimental art and music, Duchamp’s readymades
and even K. Burke’s poetry.