{"id":14,"date":"2016-01-18T06:38:36","date_gmt":"2016-01-18T06:38:36","guid":{"rendered":"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/?page_id=14"},"modified":"2016-11-15T13:39:41","modified_gmt":"2016-11-15T19:39:41","slug":"syllabus","status":"publish","type":"page","link":"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/syllabus\/","title":{"rendered":"syllabus"},"content":{"rendered":"<h3>RHE315: Introduction to Visual Rhetoric, Spring 2016<\/h3>\n<div data-foldup=\"no\" class=\"bg_faq_content_section\">\n<h4><strong>Course and Instructor Details<\/strong><\/h4>\n<p>Unique Number\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 43308<br \/>\nMeetings\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 TR 2-3:30, FAC 7<br \/>\nInstructor\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Laura Thain<br \/>\nEmail\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 lthain@utexas.edu<br \/>\nOffice Hours \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0M\/Th 12:30-2 and by appointment, FAC 16<br \/>\nWebsite\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <a href=\"http:\/\/sites.dwrl.utexas.edu\/visualrhetoric\">http:\/\/sites.dwrl.utexas.edu\/visualrhetoric<\/a><\/p>\n<h4><a href=\"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/readings\/\"><strong>Required Texts<\/strong><\/a><\/h4>\n<p>We will read and annotate all our texts digitally using the <a href=\"https:\/\/hypothes.is\/\">hypothes.is<\/a> plug-in on Google Chrome. I will provide digital scans of your readings for you on our <a href=\"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/readings\/\">course website<\/a>.<\/p>\n<p>Among the readings will be excerpts from<\/p>\n<ul>\n<li>Handa, <em>Visual Rhetoric in a Digital World\u00a0<\/em>and<\/li>\n<li>Sturken and Cartwright, <em>Practices of Looking: An Introduction to Visual Culture<\/em>.<\/li>\n<\/ul>\n<p>I also recommend purchasing a handbook like Lunsford\u2019s <em>Easy Writer <\/em>or similar.<\/p>\n<h4><strong>Course Description<\/strong><\/h4>\n<p>Kenneth Burke famously defined rhetoric as \u201cthe use of language as a symbolic means of inducing cooperation in beings that by nature respond to symbols.\u201d Although the use of visual rhetoric in mass media has an extensive history, the development of new visual networks in the 20<sup>th<\/sup> century changed the face of mass communication: film, television, and the world wide web all rely heavily on the interplay between visual and linguistic information. Inverting Burke\u2019s definition of rhetoric, this class will analyze how <em>symbols <\/em>work as a <em>linguistic<\/em> means of communication. The images of our everyday life\u2014from memes, Instagram, and Vine to film, tv, and photojournalism\u2014will serve as our primary texts as we explore the fascinating landscape of 21<sup>st<\/sup> century visual rhetoric.<\/p>\n<p>As we work together to expand our understanding of this rhetorical landscape, we will practice three basic approaches to reading images: visual rhetoric as a way to <em>do <\/em>something, visual rhetoric as a way to <em>know <\/em>something, and visual rhetoric as a way to <em>be<\/em> or <em>become<\/em> something. We will begin by examining how images function as public address. How do we communicate with each other using images? What are these images meant to signify, and how is communicating with images different than communicating with spoken or written language alone? We will build on that understanding by looking at what sorts of assumptions and understandings different media rely on. How do the codes, clich\u00e9s, and conventions of the visual communicate to an audience via a system of informal logic? Finally, we will read visual rhetoric as not only descriptive but also constitutive in the composition of our every-day lives. How does visual rhetoric shape our perceptions, our identities, and our communities? To answer these questions, we will produce both visual and written compositions that help us further our understanding of how visual rhetoric functions as a powerful communicative force in our society.<\/p>\n<p>&nbsp;<\/p>\n<h4><strong>Course Strands<\/strong><\/h4>\n<p>In this course you will work to develop the following skills:<\/p>\n<p><strong><em>Composition<\/em>\u00a0<\/strong>You will compose writing and other rhetorical artifacts that participate in a conversation. Good compositions respond to and analyze what has been said before and invite others to join the conversation as they advance their own argument. And speaking of argument\u2026<\/p>\n<p><strong><em>Argumentation<\/em><\/strong>\u00a0You will learn how to use symbols (including language) to induce cooperation from a target audience. In short, you will learn how to make a persuasive argument.<\/p>\n<p><strong><em>Research<\/em><\/strong>\u00a0You will find, analyze, and integrate into your argument primary and secondary sources from a variety of registers\u2014both high and low.<\/p>\n<p><strong><em>Visual literacy<\/em><\/strong>\u00a0You will expand upon your prior knowledge of visual conventions, genres, and communication patterns. Like all forms of literacy, visual literacy requires rigorous and regular critical thinking.<\/p>\n<p><strong><em>Digital literacy<\/em>\u00a0<\/strong>Like visual literacy, digital literacy requires regular interaction with and analysis of communication that happens in digital spaces. We will also explore how to use digital tools to create your own digital work.<\/p>\n<h4><a href=\"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/assignments\/\"><strong>Assignments<\/strong><\/a><\/h4>\n<p><strong>Short Assignments<\/strong><em><br \/>\n<\/em>Reading annotations<br \/>\nDiscussion questions<br \/>\nBlog posts<\/p>\n<p><strong>Major Assignments<\/strong><em><br \/>\n<\/em>Trope analysis<br \/>\nVisual argument<br \/>\nExhibition<\/p>\n<h4><a href=\"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/learning-record\/\"><strong>Grading<\/strong><\/a><\/h4>\n<p>This course utilizes the <a href=\"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/learning-record\/\">Learning Record<\/a> (LR).\u00a0You will determine your grade by monitoring your progress against the criteria below over the course of the semester, and documenting your development and achievements in a portfolio of work, frequent self-assessments, and a formal reflection on your work at midterm and the end of the semester. The portfolio and observations will provide the evidence from which you will build an argument about your performance in the class. After reviewing your argument, I will either agree with or revise your self-assessment based on the evidence provided in your Learning Record. We will discuss grades at midterm and the end of semester, but you are welcome to meet me in office hours anytime to brainstorm strategies for success in the course.<\/p>\n<p>You\u2019ll assess your work and progress within\u00a0five Course Strands (broad-level goals that cover a variety of skills) and you\u2019ll gauge your experience across five Dimensions of Learning (measures that are common to many different learning experiences for many \u2018kinds\u2019 of learners).<\/p>\n<p>Your Learning Record reflections will discuss how your work measures on those dimensions in terms of the Course Strands. We\u2019ll discuss the Learning Record in detail at the beginning of the semester, and we\u2019ll have various conversations about compiling your portfolio as the semester progresses.<\/p>\n<p><em>\u00a0<\/em><em>Grading Criteria<br \/>\n<\/em><strong>A<\/strong>\u00a0Represents outstanding participation in all course activities; all assigned work completed, with very high quality in all work produced for the course. Evidence of significant development across the five dimensions of learning. The Learning Record at this level demonstrates activity that goes significantly beyond the required course work in one or more course strands. All work must be submitted in a timely fashion.<br \/>\n<strong><br \/>\nB<\/strong>\u00a0Represents excellent participation in all course activities; all assigned work completed, with consistently high quality in course work. Evidence of marked development across the five dimensions of learning.<br \/>\n<strong><br \/>\nC<\/strong>\u00a0Represents good participation in all course activities; all assigned work completed, with generally good quality overall in course work. Evidence of some development across the five dimensions of learning.<\/p>\n<p><strong>D<\/strong>\u00a0Represents uneven participation in course activities; some gaps in assigned work completed, with inconsistent quality in course work. Evidence of development across the five dimensions of learning is partial or unclear.<\/p>\n<p><strong>F<\/strong>\u00a0Represents minimal participation in course activities; serious gaps in assigned work completed, or very low quality in course work. Evidence of development is not available.<br \/>\nPlus and minus grading will be employed when a student falls between these criteria.<\/p>\n<p>&nbsp;<\/p>\n<h4><strong>Writing Flag<\/strong><\/h4>\n<p>This course carries the Writing Flag. You will write regularly during the semester, completing both short and long writing projects. Furthermore, you will, and receive feedback from your instructor and your peers.<\/p>\n<p>Based on this feedback, you will have the opportunity to revise one or more assignments. A substantial portion of your grade to comes from your written work. Writing Flag classes meet the Core Communications objectives of Critical Thinking, Communication, Teamwork, and Personal Responsibility, established by the Texas Higher Education Coordinating Board.<\/p>\n<p>&nbsp;<\/p>\n<h4><strong>Schedule<\/strong><\/h4>\n<p><strong>Unit 1: Image as argument<br \/>\n<\/strong><strong><br \/>\nWeek 1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 What is visual rhetoric?<br \/>\n<\/strong>Jan 19\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Course introduction, the rhetorical situation.<br \/>\nJan 21\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Aristotle\u2019s appeals: ethos, logos, pathos.<br \/>\nRead Sonja Foss, \u201cTheory of Visual Rhetoric\u201d<\/p>\n<p><strong>Week 2\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Visual rhetoric and classical rhetoric<br \/>\n<\/strong>Jan 26\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <strong>Learning Record due.<\/strong> The canons of (visual) rhetoric.<br \/>\nRead Keith Kenney, \u201cBuilding Visual Communication Theory by Borrowing from Rhetoric\u201d<br \/>\nJan 28\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Branches of rhetoric: forensic, deliberative, epideictic.<\/p>\n<p><strong>Week 3\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Images and prior knowledge<br \/>\n<\/strong>Feb 2\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rhetorical tropes: metaphor, metonymy, synecdoche, and irony<br \/>\nRead Horn, \u201cRhetorical Devices and Tight Integration\u201d<br \/>\nFeb 4\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The role of media conventions.<br \/>\nRead Parry-Giles, \u201cMediating Hillary Rodham Clinton: Television News Practices and Image-Making in the Postmodern Age\u201d<\/p>\n<p><strong>Week 4 \u00a0 \u00a0 \u00a0 \u00a0Image and the \u201creal\u201d<br \/>\n<\/strong>Feb 9\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Images as evidence, episteme vs. doxa.<br \/>\nFeb 11 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Scientific modeling.<br \/>\nRead Mishra, \u201cThe Role of Abstraction in Scientific Illustrations and Implications for Pedagogy\u201d<\/p>\n<p><strong>Week 5\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Images and the imagined<br \/>\n<\/strong>Feb 16\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iconography and amplification.<br \/>\nRead Scott McCloud, excerpt from <em>The Vocabulary of Comics<br \/>\n<\/em>Feb 18\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Political cartoons. <strong>Trope analysis due on Canvas by 5 pm.<\/strong><\/p>\n<p><strong>Unit 2: The logic of the image\u00a0<\/strong><\/p>\n<p><strong>Week 6 \u00a0 \u00a0 \u00a0 \u00a0Introduction to moving images<br \/>\n<\/strong>Feb 23 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Film and its historical antecedents.<br \/>\nFeb 25\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Semiotics and the language of film.<br \/>\nRead Monaco, \u201cThe Language of Film: Signs and Syntax\u201d (\u201cSigns\u201d section)<br \/>\nDiscussion leaders: Christian and David<\/p>\n<p><strong>Week 7 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Arrangement<br \/>\n<\/strong>March 1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mise en scene, montage.<br \/>\nRead Monaco, \u201cThe Language of Film: Signs and Syntax\u201d (\u201cSyntax\u201d section)<br \/>\nDiscussion leaders: Pearl, Sophia<br \/>\nMarch 3\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Editing, cutting, juxtaposition.<\/p>\n<p><strong>Week 8 \u00a0 \u00a0 \u00a0 \u00a0 Dynamic shots and shot dynamics<br \/>\n<\/strong>March 8\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Spectatorship, power, surveillance.<br \/>\nRead Sturken and Cartwright, \u201cModernity: Spectatorship, Power, and\u00a0Knowledge\u201d pp. 93-111.<br \/>\nDiscussion leaders: Kaitlin and Daniel<br \/>\nMarch 10\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The gaze.<br \/>\nRead Sturken and Cartwright, Modernity: Spectatorship, Power, and Knowledge\u201d pp. 111-139.<br \/>\nDiscussion leaders: Victoria and Angel<\/p>\n<p><strong>Week 9<br \/>\n<\/strong>March 15 \u00a0\u00a0\u00a0\u00a0\u00a0 <em>Spring Break<br \/>\n<\/em>March 17\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Spring Break<\/em><\/p>\n<p><strong>Week 10 \u00a0 \u00a0 \u00a0On the small screen<br \/>\n<\/strong>March 22\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The \u201clanguage\u201d of television: signs and syntax.<br \/>\nMarch 24\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cinematic TV.<br \/>\nRead P. David Marshall, \u201cScreens: Television\u2019s Dispersed Broadcast\u201d<br \/>\nDiscussion leaders: Madison and Yessenia<\/p>\n<p><strong>Midterm Learning Record due Friday, 5pm.<\/strong><\/p>\n<p><strong>Week 11 \u00a0 \u00a0 \u00a0On the\u00a0<em>really\u00a0<\/em>small screen<br \/>\n<\/strong>March 29\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Web 1.0; is the internet a medium like television or film?<br \/>\nMarch 31\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Web 2.0.<br \/>\nRead Uricchio, \u201cThe Future of a Medium Once Known as Television\u201d<br \/>\nDiscussion leaders: Michael and Savannah<\/p>\n<p><strong>Visual arguments due Friday, 5 PM.<\/strong><\/p>\n<p><em>\u00a0<\/em><strong>Unit 3: Visual communities and the rhetoric of public space<\/strong><\/p>\n<p><strong>Week 12 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Space and memory<br \/>\n<\/strong>April 5\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The rhetoric of public space.<br \/>\nApril 7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monuments and the canon of memory.<br \/>\nRead Sturken, \u201cThe Wall, The Screen, and the Image: The Vietnam Veterans Memorial\u201d<\/p>\n<p><strong>Week 13 \u00a0 \u00a0 \u00a0 Trauma and the ephemeral<br \/>\n<\/strong>April 12 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0The museum as visual rhetoric.<br \/>\nRead Bednar, \u201cDenying Denial: Trauma, Memory, and Automobility at Roadside Car Crash Shrines\u201d<br \/>\nApril 14 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Curation and exhibition.<br \/>\nRead Haskins, \u201cEphemeral Visibility and the Art of Mourning\u201d<br \/>\nDiscussion leaders: Sam and Cuillen<\/p>\n<p><strong>Week 14 \u00a0 \u00a0 \u00a0Capital and capitol<br \/>\n<\/strong>April 19 \u00a0 \u00a0 \u00a0 \u00a0Civic semiotics: historical examples.<br \/>\nApril 21 \u00a0 \u00a0 \u00a0 \u00a0Spatial rhetoric and state power.<br \/>\nRead excerpt from Vale, <em>Architecture, Power, and National Identity<br \/>\n<\/em>Discussion leaders: Bo and Jamie<\/p>\n<p><strong>Week 15 \u00a0 \u00a0 When virtual meets spatial<br \/>\n<\/strong>April 26\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Video games and virtual space.<br \/>\nRead Gregerson and Grodal, \u201cEmbodiment and Interface\u201d<br \/>\nDiscussion leaders: Don and Mary Grace<br \/>\nApril 28\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Virtual communities.<br \/>\nRead Sturken and Cartwright, \u201cPostmodernism, Indie Media, and Popular Culture\u201d<br \/>\nDiscussion leaders: Harrison and Alfredo<\/p>\n<p><strong>Week 16<br \/>\n<\/strong>May 3\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Revisiting mythos, what is &#8220;myth today&#8221;?<br \/>\nMay 5\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Course evaluations, closing remarks, portfolio submission.<br \/>\n<strong>Exhibition and Learning Record due.<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<h4><strong>Department Course Policy Statement, 2015-2016<\/strong><\/h4>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center\"><em>Questions about these policies should be addressed to:<br \/>\n<\/em>Department of Rhetoric &amp; Writing<br \/>\nThe University of Texas at Austin<br \/>\nParlin Hall, Room 3<br \/>\nrhetoric@uts.cc.utexas.edu<br \/>\n(512) 471-6109<\/p>\n<p>&nbsp;<\/p>\n<p><strong>ATTENDANCE POLICY<\/strong><\/p>\n<p>Rhetoric &amp; Writing has established this attendance policy for all RHE courses. Any questions or appeals concerning this policy must be made directly to the department Associate Chair. You are expected to attend class, to arrive on time, to have prepared assigned reading and writing, and to participate in all in-class editing, revising, and discussion sessions<strong>.<\/strong> <strong>Should you miss the equivalent of <u>five<\/u> TTH or MW class sessions or <u>seven<\/u> MWF sessions this semester, excused or not, <u>you will fail the course<\/u><\/strong><strong>. <\/strong>If you find that an unavoidable problem prevents you from attending class, you should contact your instructor as soon as possible, preferably ahead of time, to let him or her know.<\/p>\n<p>You will not be penalized for missing class on religious holy days. A student who misses classes or other required activities, including examinations, for the observance of a religious holy day should inform the instructor, in writing, well in advance of the absence, so that alternative arrangements can be made to complete work. If you know you will have to miss class(es) for this reason, provide your instructor with the date(s) as early as possible. Please note that the University specifies very few other excused absences (e.g., jury duty).<\/p>\n<p>When you must miss a class, you are responsible for getting notes and assignments from a classmate.<\/p>\n<p><strong>SCHOLASTIC HONESTY<\/strong><\/p>\n<p>Turning in work that is not your own, or any other form of scholastic dishonesty, will result in a major course penalty, possibly failure of the course. This standard applies to <em>all<\/em> drafts and assignments, and a report of the incident will be submitted to the Office of the Dean of Students and filed in your permanent UT record. Under certain circumstances, the Dean of Students will initiate proceedings to expel you from the University. So, take care to read and understand the <em>Statement on Scholastic Responsibility<\/em>, which can be found online at <a href=\"http:\/\/www.utexas.edu\/cola\/depts\/rhetoric\/firstyearwriting\/plagiarismcollusion.php\">http:\/\/www.utexas.edu\/cola\/depts\/rhetoric\/firstyearwriting\/plagiarismcollusion.php<\/a>. If you have any doubts about your use of sources, ask your instructor for help <em>before<\/em> handing in the assignment.<\/p>\n<p><strong>STUDENTS WITH DISABILITIES<\/strong><\/p>\n<p>Any student with a documented disability who requires academic accommodations should contact Services for Students with Disabilities at 512-471-6259 (voice) or 512-410-6644 (video phone) as soon as possible to request an official letter outlining authorized accommodations. More information is available online at <a href=\"http:\/\/www.utexas.edu\/diversity\/ddce\/ssd\">http:\/\/www.utexas.edu\/diversity\/ddce\/ssd<\/a>.<\/p>\n<p><strong>EMAIL ACCOUNTS<\/strong><\/p>\n<p>Email is an official means of communication at UT-Austin, and your instructor will use this medium to communicate class information. You are therefore required to obtain a UT email account and to check it daily. All students may claim an email address at no cost by going to <a href=\"http:\/\/www.utexas.edu\/its\/utmail\/\">http:\/\/www.utexas.edu\/its\/utmail\/<\/a>.<\/p>\n<p><strong>EMERGENCY INFORMATION<\/strong><\/p>\n<p>Occupants of buildings on The University of Texas at Austin campus are required to evacuate buildings when a fire alarm is activated. \u00a0Alarm activation or announcement requires exiting and assembling outside.<\/p>\n<p>Familiarize yourself with all exit doors of each classroom and building you may occupy.\u00a0 Remember that the nearest exit door may not be the one you used when entering the building.<\/p>\n<p>Students requiring assistance in evacuation shall inform their instructor in writing during the first week of class.<\/p>\n<p>In the event of an evacuation, follow the instruction of faculty or class instructors.<\/p>\n<p>Do not re-enter a building unless given instructions by the following: The University of Texas at Austin Police Department, or Fire Prevention Services office.<\/p>\n<p>Information regarding emergency evacuation routes and emergency procedures can be found at\u00a0<a href=\"http:\/\/www.utexas.edu\/emergency\">http:\/\/www.utexas.edu\/emergency<\/a>.<\/p>\n<p>Behavior Concerns Advice Line (BCAL): 512-232-5050.<\/div><\/p>\n","protected":false},"excerpt":{"rendered":"<p>RHE315: Introduction to Visual Rhetoric, Spring 2016 Course and Instructor Details Unique Number\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 43308 Meetings\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 TR 2-3:30, FAC 7 Instructor\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Laura Thain Email\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 lthain@utexas.edu Office Hours \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0M\/Th 12:30-2 and by appointment, FAC 16 Website\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 http:\/\/sites.dwrl.utexas.edu\/visualrhetoric Required Texts We will read and annotate all our texts digitally using the hypothes.is [&hellip;]<\/p>\n","protected":false},"author":119,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-14","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/14","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/wp-json\/wp\/v2\/users\/119"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/wp-json\/wp\/v2\/comments?post=14"}],"version-history":[{"count":24,"href":"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/14\/revisions"}],"predecessor-version":[{"id":880,"href":"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/14\/revisions\/880"}],"wp:attachment":[{"href":"https:\/\/sites.dwrl.utexas.edu\/visualrhetoric\/wp-json\/wp\/v2\/media?parent=14"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}