By Rubel L. A.

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3) 36 • digital rhetoric Bogost’s contribution here is important for digital rhetoric, as he identifies an intrinsic quality of digital texts that is not easily or sufficiently addressed by classical rhetorical theory or method (and that is also not directly taken up in accounts of contemporary rhetorical theory or practice). By showing this disconnect between theory and current practice, Bogost reinforces an argument that I will be making in the following sections of this book—­namely that digital texts require not just an updating of traditional theory but the development of new rhetorical theories and methods designed to specifically account for the features of digital texts, precisely as Bogost has done here.

For instance, she notes that “rhetoricians since the Greeks have acknowledged [the] central position of audience in rhetorical production, but digital dissemination now makes it possible to deliver even 38 • digital rhetoric more targeted appeals than one would deliver when speaking to an interested crowd of heterogeneous spectators” (59–­60), and that “classical rhetoric that focuses on public oratory, the appearance and projection of the speaker, and delivery in indoor or outdoor spaces may be remarkably relevant” (63–­64) in digital contexts.

Readers do not just passively receive information; rather, they interact with the text. By contributing their own thoughts and experiences, readers work with authors to create a unique reading experience. Defining and Locating Digital Rhetoric • 33 Texts are also dialogic in another sense: To better succeed with their audience, authors instinctively incorporate some of the thinking and attitudes of the audience within their writing” (132). In other words, traditional approaches follow Burke’s approach of alignment and identification, but this is not necessarily a function that should be classified as the key property of interactivity.

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