. Sankofa symbol It’s critical to note that the field of digital rhetorics is dynamic, and discussions and viewpoints about redefining the field must continue to evolve based on ongoing research and how the field can explore innovative pedagogical approaches that can utilize digital and surfing technologies to enhance teaching writing and composition. Not only…
Han’s discussion of fluidity of information by infomatons in ‘Non-things’ shows how hyper-cultured our society has become. The apt attention we pay to information, which is referred to by Han (2022) as “non-things,” shows that the internet world has changed our lives and reality. The digital terministic screen indeed prevents us from having access to…
Banks’s (2011) work on Digital Griots seeks to project afrofuturistic movements to nudging for non-western and diasporic rhetoric to inclusively have a space in Digital Rhetoric. What the field of Writing and Tech Com needs to know is that there is communal and indigenous knowledge from different national cultures that needs to be embraced to…
Culture and rhetoric are inextricably intertwined because most of our African cultures, particularly Ghanaian cultures, are rhetorical. Haas (2008) looks at cultural rhetoric as a study of “everyday rhetoric and writing practices of specific cultural groups” and the historical, socio-cultural political context that shape those practices. Going forward, I hope to see a Digital Cultural…
Banks (2011) argues that a DJ is a multimodal storyteller, which is a manifestation of a griot—a traditional storyteller. I can draw comparisons between DJ techniques and preachers, comic creators, poets, and storytellers, not to mention how DJs juggle many topics. What Banks wants to understand is that just as DJing involves, scratch, remixing, weaving,…
Haas (2018) calls for making digital cultural rhetoric an inclusive space for all bodies and identities. In Case Studies of Communities in Digital Practice, I noticed that Digital Cultural Rhetoric need not be situated in specific cultures if we want to achieve social change. Instead, the field needs to expand to value communities of practice…
Han (2022), in ‘Hyperculture,’ takes a deep stance on how cultures will cease to exist in the future. His argument suggests that culture is always in location, but there will be a time we are going to be called tourists. Han (2022) asks if we are, how might we describe this new culture? This question…