A variety of books and articles about multimodality and multimedia composing:

Barton, Matt."Embrace the Wiki Way!" MattBarton.net . 21 May 2004. 9 Feb 2009 < http://www.mattbarton.net/tikiwiki/tiki-read_article.php?articleld=4 >.
This is a brief and entertaining piece about using wikis in composition, with an emphasis on the types of projects that are well suited to wikis (group research projects, reference guides, resource directories) and those that are not (portfolios, argumentative essays, personal creative works). This is a good example of how we should be sure to use the right tool for the job.

Carter, Locke. "Argument in Hypertext: Writing Strategies and the Problem of Order in a Nonsequential World." Computers and Composition: An International Journal for Teachers of Writing 20:1 (2003): 3-23.
Hypertext is made from nodes that are linked to other nodes that guide the reader, but the reader chooses how much to read and the order in which is read. Thus, traditional argument structure doesn’t work in hypertext. Carter “present(s) concepts of informal logic, stasis theory, primacy/recency/repetition effects, spatial metaphors, and textual coherence as a starting point for building a rhetorical understanding of argumentation strategies in hypertext.”

Colby, Rebekah Shultz and Richard Colby. “A Pedagogy of Play: Integrating Computer Games into the Writing Classroom” Computers and Composition: An International Journal for Teachers of Writing , 2008; 25 (3): 300-312.
In this article, our colleagues argue that traditional distinctions between work/play and classroom/gamespace create barriers to computer games’ integration into academic settings and the writing classroom in particular. After arguing that the history of rhetoric offers a basis from which teachers and students can see the arbitrariness of the work/play distinction, the article offers an argument that reunites the relationships between computer game theory and writing pedagogy, calling it a pedagogy of play and basing it on the theory of emergent gaming. An example, from the authors' World of Warcraft class, supports the argument through a studio model of composition in which, while playing the game, students work concurrently either individually or with their peers to create self-selected documents centered around and addressed to the WoW game community. These documents are immediately published on online sites that WoW players read. The authors argue that the process of learning through the game supported by rhetorically meaningful writing tasks engages students in complex ways as they consider both academic and professional options for writing.

This article is useful for thinking about how multimodal objects can be productively incorporated into our writing classrooms. It adds to our discussion so far about the tension between incorporating reflection versus production of multimodal texts into the writing classroom by taking up the tension between incorporating media into the first-year composition room as objects of analysis versus as games that are played. In addition, specific student project examples are offered and easily understood by the 1133 lecturer curious to see how other colleagues are developing their classroom practices.

Dangler, Doug, Ben McCorkle, and Time Barrow. Expanding Composition Audiences with Podcasting. < http://www.bgsu.edu/cconline/podcasting/classroom.htm >. This is an interesting site that includes an overview of podcasting and discusses its potential for composition in the classroom, in writing centers, and in our professional work. The classroom audiences section is most relevant for us; the authors argue that podcasting helps students improve their writing style and consider delivery more as they compose for a broader public audience. A sample assignment and rationale are linked.

David, Carol, and Anne R. Richards, eds. Writing the Visual: A Practical Guide for Teachers of Composition and Communication. West Lafayette: Parlor, 2008.
This collection focuses on student analysis of visual rhetoric rather than on student production of visual artifacts. Essays include analyses of photographs, documentary films, and political cartoons, with practical pedagogical advice on how to include such artifacts in the composition classroom in order to support an understanding of rhetorical elements and to deepen students' engagement with visual artifacts. Two chapters include some focus on student production of visual artifacts: L. J. Nicoletti's "Mediated Memory: The Language of Memorial Spaces," which asks students to design a public memorial and to reflect on the rhetorical decisions involved in such a design; and Alyssa O'Brien's "Drawn to Multiple Sides: Making Arguments Visible with Political Cartoons," which has students compose and upload political cartoons that support accompanying written editorials about a current political issue.

Davidson-Shivers, Gayle V., Barry Nowlen and Michael Lanouette. “Do Multimedia Lesson Structure and Learning Styles Influence Undergraduate Writing Performance ?” College Student Journal 36.1 (2002): 20-32. This article presents the somewhat inconclusive results of a study about using multimedia to teach students about brainstorming and outlining. They attempted to measure the relative effectiveness of random delivery (has all the nodes there but no dictation of how students will proceed through them,) and fully prescribed (student only controls the pace) lesson designs. There were a number of flaws in the research design, but it seems students found both types of lessons easy to use and helpful.

Ferriter, Bill. Digitally Speaking . < http://digitallyspeaking.pbworks.com >.
Though this wiki is written by and, ostensibly, for middle school teachers, it is a rich resource for educators at all levels. The site includes pages on a number of multimodal technologies--blogging, podcasting, wikis--that present technology definitions, rationales, tutorials, links galore, and student and professional examples. These examples might be particularly useful, as will material on expectations and assessment that transfer across educational level. (Ferriter also maintains a more wide-ranging blog called the Tempered Radical that often deals with education, technology, resistance, and the like. I would love for Cate to have a teacher like this, and I am impressed and shamed by his tech savvy and productivity with a public school teaching load.)

Herrington, Anne, Kevin Hodgson, and Charles Moran, eds. Teaching the New Writing: Technology, Change, and Assessment in the 21st-Century Classroom . New York: Teachers College Press, 2009.
While much of this collection represents issues and practices associated with primary and secondary education, Part III: Bridging to the College Years includes a couple of potentially useful articles. "Scientific Writing and Technological Change: Teaching the New Story of Scientific Inquiry" discusses of technology and multimodality shape the teaching of scientific research and writing--from proposals to assessment--at Greely High School and MIT. In "Student Engagement and Multimodality: Collaboration, Schema, Identity," Peter Kittle shares an approach top multoimodal document creation used in his Advanced Composition for Future Teachers course and claims that students became so invested and engaged in their projects that they became markers of identity for students in the class. He also notes that he was learning many of these technologies alongside his students for a simultaneous professional project, which actually benefitted his pedagogy rather than harming it. The article describes several student projects and the evaluation rubric used to assess them. "Multiple Modes of Production in a College Writing Class," is another teacher-lore article that highlights specific assignment and assessment practices. It is reassuring in its claim that one need not be an expert to "dive in" to multi-modal work, but concludes with notes about how the authors have learned from their experiences and plan to make appropriate changes in future sememsters. One interesting point that relates to our previous discussion is that the assignments discussed bridge analysis and production. Quoting Kress, Julie A. Myatt proposes that "providing students with assignments that allow them to critique someone else's design choices while at the same time being mindful of their own will help prepare them for a future in which 'the facilities of design rather than those of critique will be essential for equitable participation in social, economic and cultural life'" (187).

Kolb, David. "Association and Argument: Hypertext in and around the Writing Process." New Review of Hypermedia & Multimedia 11.1 (2005): 7-26.
Kolb outlines four phases of scholarly writing--survey, analysis, evaluation, creation--and discusses how different types of hypertext, such as page and link structure, stretch text, and link mapping, can facilitate reflection, argument, and evaluation.

Kress, Gunther and Theo Van Leeuwen. Multimodal Discourse: The Modes and Media of Contemporary Communication . London: Arnold, 2001.Kress and Van Leeuwen take a semiotic approach to multimodality, articulating a "multimodal theory of communication." In their work, they emphasize four "strata" of multimodality: discourse, design, production and distribution. Discourse and design, they argue, constitute the "content" of the message being delivered. Production and distribution make up the "expression" of this content. This is a theoretical text, that draws heavily upon linguistics, and so may not be of immediate pedagogical use.
That being said, they argue in favor of our multimodal awareness or fluency, as it is “no longer tenable” to consider language as “the central means of representing and communicating” (111). They also argue that in our use of various modes and media, we engage in a variety of non-abstract “communicative practices” which include discursive, production, and interpretive practices, as well as practices related to design and distribution. Toward the end of their book they reflect, “We may be approaching a time when the question is not so much ‘what discrete modes are occurring together?’ as ‘what ensembles of [semiotic] resources are being produced?’”

Kress, Gunther. "Gains and Losses: New forms of Texts, Knowledge, and Learning."Computers and Composition 22 (2005): 5–22.

Liu, Ziming. "Reading Behavior in the Digital Environment: Changes in Reading Behavior Over the Past Ten Years ." Journal of Documentation 61.6 (2005): 700-712.
Liu's research suggests that "screen-based reading behavior is characterized by more time spent on browsing and scanning, keyword spotting, one-time reading, non-linear reading, and reading more selectively, while less time is spent on in-depth reading, and concentrated reading." These findings have implications for how we design and teach multimodal projects that are intended to be read on screen and raise questions about the affordances anmd constraints of such projects for presenting sustained argument or communicating complex material.

Mackiewicz, Jo. "Comparing Powerpoint Experts’ And University Students’ Opinions About Powerpoint Presentations." Journal of Technical Writing & Communication 38.2 (Jun2008): 149-165.
This article provides a solid review of the literature on PowerPoint design from academic and professional sources before presenting the results of a student survey about their reception and production of PowerPoints. Mackiewicz’s comparison of expert and student opinions can inform the teaching of PowerPoint design and presentation skills.

Murray, Joddy. Non-Discursive Rhetoric: Image and Affect in Multimodal Composition . Albany,NY: SUNY Press, 2009.

Rice, Jeff and Marcel O'Gorman, eds. New Media/New Methods: The Academic Turn from Literacy to Electracy. West Lafayette: Parlor, 2008.

Salaway, Gail, Judith B. Caruso, and Mark R. Nelson. The ECAR Study of Undergraduate Students and Information Technology , 2008 (Research Study, Vol. 8). Boulder, CO: EDUCAUSE Center for Applied Research, 2008. < http://www.educause.edu/ecar >.

Stein, Jared. “Defining a ‘Creepy Treehouse.” Flexknowlogy . 9 Apr. 2008. 9 Feb. 2009 < http://flexknowlogy.learningfield.org/2008/04/09/defining-creepy-tree-house/ >. Stein explains that "any move to integrate or aggregate new institutional tools or systems with pre-existing tools or systems already embraced by the community may be seen as creepy treehouse, in as much as it may be construed as institutional infringement upon the social or professional community of it’s participants." Basically, educational uses can take all of the “cool” out of technology tools and spaces. While we may be tempted to use popular tools/spaces to interest the students or harness their enthusiasm for extracurricular writing, we do so at the risk of invading their privacy and stifling their autonomy and creativity. (This idea extends beyond the digital/social networking realm. For example, zines aren't cool because they are zines, but because they are fan-driven, underground, DIY publications. A classroom-based "zine" that is grade-driven, institutionally-sanctioned, and done for the teacher might not be so cool.) An interesting discussion follows in the comments section.

Tierney, Robert J., Ernest Bond, and Jane Bresler. "Examining Literate Lives as Students Engage With Multiple Literacies." Theory into Practice 45(4): 359–367.
This article is based largely on a longitdunal case study of a multimodal program in an economically challenged, racially diverse secondary school. What might be most useful for us is the authors' employ sociopolitical perspective: "Our conception of new literacies (those associated with digital technologies and multimodal representations) is grounded in an understanding of multiple literacies as social practices. Based on our observations of students in supportive classroom environments, individuals and groups afforded opportunity to engage as teams with digital literacies learn an array of new ways to explore and share ideas. These individuals are able to contribute together and separately to enhanced explorations of their worlds with new and dynamic genres that afford an image-enhanced, complex layering of concepts, as well as the means for rich explorations, exchanges of ideas, and problemsolving.Depending upon how these new literacies are introduced/situated, they can make a significant contribution to shifts in the lives of individuals and groups politically, economically, and socially."

Tryon, Charles. “Writing and Citizenship: Using Blogs to Teach First-Year Composition.” Pedagogy 6:1(2006): 128-132.
This is a brief and reader-friendly overview of a blog-based pedagogy designed to get students writing for public audiences about current events to foster better writing and citizenship. Tryon discusses benefits, such as engagement and rapid feedback, as well as drawbacks like potentially negative responses from the public.

Vie, Stephanie. "'Generation M' and Online Social Networking Sites in the Composition Classroom." Computers and Composition 25.1 (2008): 9-23.
According to Vie, "Compositionists should focus on incorporating into their pedagogy technologies that students are familiar with but do not think critically about: online social networking sites, podcasts, audio mashups, blogs, and wikis" because technological literacy involves more than just how to use the technology. Vie notes, however, that many instructors are far behind entering students in terms of technology use and even savvy teachers may encounter resistance to using these technologies in class.

Wysocki, Anne Frances, Johndan Johnson-Eilola, Cynthia L. Selfe, and Geoffrey Sirc. Writing New Media: Theory and Applications for Expanding the Teaching of Composition. Logan, UT: Utah State UP, 2004.
In Writing New Media , Wysocki, Johnson-Eilola, Selfe and Sirc individually, and to varying degrees, define new media, articulate the affordances and limitations of new media, compare new media literacy with print media literacy, and discuss ideas for why and how writing classrooms can respond to incorporating new media. The authors also offer their own assignments and assessment strategies for the new media classroom.

Because each chapter in the book includes a short article which is followed by assignments by the authors, the format effectively addresses both theory and practice. The theoretical portions of the book overlap with some of the author’s previous publications, particularly Selfe’s. However, I found the book to be useful overall. The authors argue that “theory and practice should clasp like hands” and pedagogically the book is a good reference tool.

Specific chapters will be more useful to our teaching practices than others. I would recommend Anne Wysocki’s chapters as they helped me to think about specific and varied ways for incorporating visual analysis and design into my first-year composition course, specifically 1122. These assignments range from analyzing the visuals on a postcard to building more technical compositions. In addition, lecturers who teach literacy narratives will find the assignments and assessment rubrics in Selfe’s “Toward New Media Texts” helpful; this chapter offers a sequence of activities that ask students to compose a visual essay which represents and reflects on their own literacy practices.
Jennifer Novak