Bodies of Knowledge challenges homogenizing (mis)understandings of knowledge construction and provides a complex discussion of what happens when we do not attend to embodied rhetorical theories and practices. Because language is always a reflection of culture, to attempt to erase language and knowledge practices that reflect minoritized and historically excluded cultural experiences obscures th­e legitimacy of such experiences both within and outside the academy.
 
The pieces in Bodies of Knowledge draw explicit attention to the impact of the body on text, the impact of the body in text, the impact of the body as text, and the impact of the body upon textual production. The contributors investigate embodied rhetorics through the lenses of race and ethnicity, gender and sexuality, disability and pain, technologies and ecologies, clothing and performance, and scent, silence, and touch. In doing so, they challenge the (false) notion that academic knowledge—that is, “real” knowledge—is disembodied and therefore presumed white, middle class, cis-het, able-bodied, and male. This collection lays bare how myriad bodies invent, construct, deliver, and experience the processes of knowledge building.
 
Experts in the field of writing studies provide the necessary theoretical frameworks to better understand productive (and unproductive) uses of embodied rhetorics within the academy and in the larger social realm. To help meet the theoretical and pedagogical needs of the discipline, Bodies of Knowledge addresses embodied rhetorics and embodied writing more broadly though a rich, varied, and intersectional approach. These authors address larger questions around embodiment while considering the various impacts of the body on theories and practices of rhetoric and composition.
 
Contributors: Scot Barnett, Margaret Booker, Katherine Bridgman, Sara DiCaglio, Kristie S. Fleckenstein, Vyshali Manivannan, Temptaous Mckoy, Julie Myatt, Julie Nelson, Ruth Osorio, Kate Pantelides, Caleb Pendygraft, Nadya Pittendrigh, Kellie Sharp-Hoskins, Anthony Stagliano, Megan Strom
 

The Building as Screen: A History, Theory, and Practice of Massive Media describes, historicizes, theorizes, and creatively deploys massive media -- a set of techno-social assemblages and practices that include large outdoor projections, programmable architectural façades, and urban screens -- in order to better understand their critical and creative potential. Massive media is named as such not only because of the size and subsequent visibility of this phenomenon but also for its characteristic networks and interactive screen and cinema-like qualities. Examples include the programmable lighting of the Empire State Building and the interactive projections of Montreal’s Quartier des spectacles, as well as a number of works created by the author himself. This book argues that massive media enables and necessitates the development of new practices of expanded cinema, public data visualization, and installation art and curation that blend the logics of urban space, monumentality, and the public sphere with the aesthetics and affordances of digital information and the moving image.