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<span style="font-family: Calibri, Helvetica, sans-serif;">Dear all,</span><br>
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<span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">I am pleased to announce the following CFP for a special issue of</span><span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"><i style="box-sizing:border-box">Technical
Communication</i></span><i style="box-sizing:border-box"><span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span></i><span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">on "Digital
Interface Analysis and Social Justice": </span><a href="https://www.stc.org/notebook/2022/08/03/call-for-papers-special-issue-of-technical-communication-on-digital-interface-analysis-and-social-justice/?fbclid=IwAR3ea3xwxJrRG9rZYXnsx3TqetfV1v43VoOXyprHAOQ_6eQCMfGX3oCY9hE" data-auth="NotApplicable" data-safelink="true" data-linkindex="0" style="margin:0px; box-sizing:border-box; background-color:rgb(255,255,255)"><span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">https://www.stc.org/notebook/2022/08/03/call-for-papers-special-issue-of-technical-communication-on-digital-interface-analysis-and-social-justice/?fbclid=IwAR3ea3xwxJrRG9rZYXnsx3TqetfV1v43VoOXyprHAOQ_6eQCMfGX3oCY9hE</span></a><a href="https://www.stc.org/notebook/2022/08/03/call-for-papers-special-issue-of-technical-communication-on-digital-interface-analysis-and-social-justice/?fbclid=IwAR3ea3xwxJrRG9rZYXnsx3TqetfV1v43VoOXyprHAOQ_6eQCMfGX3oCY9hE" data-auth="NotApplicable" data-safelink="true" data-linkindex="1" style="margin:0px; box-sizing:border-box"></a></div>
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<span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">The details are also pasted below.</span></div>
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<span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Jennifer</span></div>
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<b style="box-sizing:border-box"><span style="font-size:16pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Special Issue of</span><span style="font-size:16pt; font-family:Calibri,Arial,Helvetica,sans-serif; margin:0px; box-sizing:border-box"><span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span></span><span style="font-size:16pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"><i style="box-sizing:border-box">Technical
Communication</i></span><span style="font-size:16pt; font-family:Calibri,Arial,Helvetica,sans-serif; margin:0px; box-sizing:border-box"><span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span></span><span style="font-size:16pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">on
“Digital Interface Analysis and Social Justice”</span></b><br style="box-sizing:border-box">
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<b style="box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">G</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">UEST
EDITOR</span></b></div>
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<span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box; font-size:12pt">Jennifer Sano-Franchini, West Virginia University</span><br style="box-sizing:border-box">
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<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">This special issue of</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Technical
Communication</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">centers on the critical
analysis of digital interfaces and its implications for social justice in user experience (UX) design. Digital interface analysis is distinct from other approaches to studying UX and digital platforms more generally in that it considers how the design of digital
interfaces—which all technology users have direct and immediate access to—affects the way technology users interact with the platform, the organizations that host them, one another, and/or the ideas, objects, and spaces that make up the world around us. Moreover,
digital interfaces are important sites for social justice work in technical and professional communication (TPC). This special issue seeks to unpack what digital interfaces have to do with social justice, considering, for instance, how digital interfaces mediate
and facilitate the material distribution of wealth and other resources, influence the material flows of political power, validate certain ways of knowing over others, support minoritized communities, and otherwise affect the way we understand and relate with
one another and the world around us.</span><br style="box-sizing:border-box">
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<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">The field of TPC has a long tradition of scholars and practitioners who have studied the ideological and rhetorical function of technological interfaces.
As Haas’ (2012) “Race, Rhetoric, and Technology: A Case Study of Decolonial Technical Communication Theory, Methodology, and Pedagogy” explained, “just as the rhetoric we compose can never be objective, neither can the technologies we design” (p. 288). Published
analyses of digital interfaces in TPC include but are not limited to: Selfe and Selfe’s (1994) influential “The Politics of the Interface,” which analyzed capitalism, class privilege, and whiteness in computer desktop interfaces; Banks’ (2005)</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Race,
Rhetoric, and Technology</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">, which discussed African American design traditions and spoke to the need to contextualize how we understand “professional”
design norms; Moses & Katz’s (2006) “The Invisible Ideology of Email,” on how email’s purposive-rational ideology affects how people work and live more generally; Zdenek’s (2007) “‘Just Roll Your Mouse Over Me,’” which provided a gender-based critique of virtual
women for online customer service; Knight, et al.’s (2009) “About Face,” which analyzed the websites of TPC programs; Sidler & Jones’ (2009) “Genetics Interfaces,” which analyzed two civic action groups related to genetics research to demonstrate the need
to combine scientific knowledge with cultural and emotional rhetorics for public science writing audiences; Gu’s (2016) “East Meets West,” which used a comparative approach, analyzing Chinese and U.S. interface designs, to show the importance of considering
culture and context for understanding the function and rationale of design choices; and Sano-Franchini’s (2018) “Designing Outrage, Programming Discord,” which explicitly described a method that she referred to as “critical interface analysis,” that was then
applied to an analysis of Facebook as an electoral campaign technology.</span><br style="box-sizing:border-box">
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<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">More recently, scholars have taken up interface analyses through critical, feminist, and race-conscious lenses focusing on a wide range of aspects across
a variety of platforms. For example, on the Black TPC (Mckoy, et al., 2019) panel, Sackey asked us “to think of user experience design through a race-conscious lens, particularly an Afrocentric lens” as a way of demonstrating how approaches to design “through
an apparent race-neutral lens…in fact…privileges whiteness.” In addition, Homer (2020) analyzed the #WeAreMaunaKea hashtag, demonstrating how Native Hawaiian sovereignty claims intervene in oppressive algorithmic procedures; Jones’ (2021) analyzed how Twitter’s
“What’s Happening” and Instagram’s Live Stream interfaces mediate political content for users; Green (2021) drew on intersectional queer theories of unruliness to demonstrate how study participants “resisted Grindr’s interface, which encourages users to disclose
their HIV status,” thus disrupting the risk rhetorics of the platform; and Richter (2021) analyzed the rhetoric of “rules” documents on Reddit. Taken together, these works demonstrate how the critical analysis of digital interfaces can provide a wide range
of insights for better understanding not only the numerous platforms we interact with in our day to day lives, but also the weighty implications of interface design choices for racialized and other minoritized communities.</span><br style="box-sizing:border-box">
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<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">In addition to these concerns within TPC, broader cross-disciplinary, industry, and public conversations regarding digital racism as facilitated by digital
technologies have emerged as UX designers have discussed the role of UX and interface design in upholding racism in popular platforms like Airbnb, NextDoor, and Google, including both its search and Arts and Culture applications. Such conversations have been
furthered by the important work of organizations and industry-based initiatives that have advanced antiracist and justice-oriented approaches to UX design like</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><a href="https://hmntycntrd.com/" data-auth="NotApplicable" data-safelink="true" data-linkindex="2" style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">HmntyCntrd</span></a><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">,
founded by Vivianne Castillo, the</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><a href="https://stateofblackdesign.com/" data-auth="NotApplicable" data-safelink="true" data-linkindex="3" style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">State
of Black Design</span></a><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">, and the</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><a href="https://designjustice.org/" data-auth="NotApplicable" data-safelink="true" data-linkindex="4" style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Design
Justice Network</span></a><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">. Attention to these issues have also expanded with the publication of Safiya Noble’s (2018) landmark</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Algorithms
of Oppression</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">and Ruha Benjamin’s
(2019)</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Race After Technology</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">,
amongst other works. That being said, digital interface analysis has significant practical relevance, as a method that can quite clearly demonstrate what humanities trained professionals who are attentive to issues of social justice can uniquely contribute
to computer engineering and other technology development teams, and offer more granular understandings of how seemingly minute design decisions contribute to inequity and political polarization.</span><br style="box-sizing:border-box">
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<div style="margin:0px; box-sizing:border-box"><b style="box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Specific Topics that May Be Covered</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span></b></div>
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<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">This call invites proposals (no more than 400 words in length) for manuscripts that center critical and social justice-oriented analyses of digital interfaces.
Proposals by U.S. and international contributors from academia, industry and government are all welcome and encouraged.</span><br style="box-sizing:border-box">
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<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Proposals may focus on the analysis of a wide range of desktop and mobile applications and platforms, such as:</span><br style="box-sizing:border-box">
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<span style="margin:0px; box-sizing:border-box">EPA, CDC, food assistance, U.S. Supreme Court, voter registration, and other governmental websites;</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">health insurance, ultrasound, and other medical interfaces;</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">Instagram, TikTok, Twitter, Twitch, Weibo, and other social media platforms;</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">Gmail, Outlook, and other email or messaging clients;</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">Blackboard, Canvas, and other learning management systems;</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">Google, DuckDuckGo, and other search engines;</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">Chegg, Course Hero, Grammarly and other educational technologies;</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">Google Chrome, Firefox, Safari, and other internet browsers;</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">Slack, Miro, Discord, and other collaboration platforms</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">Tableau and other data visualization platforms; and</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">Facetime, Google Meet, Zoom, and other video conferencing platforms.</span></li></ul>
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<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">In doing so, contributors may cover a wide range of topics, including but by no means limited to:</span><br style="box-sizing:border-box">
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<span style="margin:0px; box-sizing:border-box">the political consequences of interface designs, i.e., the effects of interface design on political elections, or the ideological affordances of design choices, including how various design strategies, organizational
structures, temporalities, and/or approaches to user representation encourage, resist, or otherwise influence systemic inequities</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">the affective and emotional effects of particular interface design choices for diverse technology users</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">how interface designs attend to accessibility (or not), and the effects for disabled technology users</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">analyses and applications of specific methods and approaches for analyzing the rhetorical, political, and ideological function of digital interfaces, i.e., an application of Brock’s (2016) Critical Technocultural
Discourse Analysis as a way of studying the effects of digital interfaces</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">intercultural and inter/trans-national perspectives and approaches to interface analysis and design, i.e., interface design across the globe and across cultures, the effects of interface design with a focus on
international audiences</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">the practical application of interface analysis in technical communication and UX design, including how the critique of digital interfaces can be used in the service of more equitable design practices, or practitioner
strategies for more equitable, socially just, and humane interface/UX design</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">industry insights about interface analysis, including critiques, limitations, and how industry experts engage in interface analysis in their day-to-day work</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">the possibilities and potentials of practitioner-academic collaborations in interface critique and design</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">how the design of educational technologies affects learners and learning outcomes</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">how interface design supports and/or otherwise affects the communication of risk</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">how digital interfaces reflect organizational values and priorities</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">the limits of digital interface analysis as an approach for socially just UX design</span></li></ul>
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<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">With these broad possibilities for topics, contexts, and purposes in mind, all contributors will be asked to attend to the special issue’s focus on social
justice in their manuscript. For example, drawing on Walton, Moore, and Jones’ (2019) 3Ps heuristic, contributors may:</span><br style="box-sizing:border-box">
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<li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">reflect upon their positionality and how it affects their analysis</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">consider how different technology users are positioned in relation to the interface and one another,</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">describe how the interface privileges particular users over others, and</span></li><li style="box-sizing:border-box; font-size:12pt; font-family:Calibri,Helvetica,sans-serif">
<span style="margin:0px; box-sizing:border-box">discuss how user interfaces have implications for power, i.e., how interface designs influence the material distribution of wealth and other resources across communities and subjectivities.</span></li></ul>
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<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Put differently, all submissions should move beyond usability, functionality, and a-political approaches to UX to consider the ideological, cultural, and
political implications of interface design.</span><br style="box-sizing:border-box">
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<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"><b style="box-sizing:border-box">SUBMISSION PROCEDURES</b></span></div>
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<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Send your proposal of no more than 400 words to Jennifer Sano-Franchini at</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><a href="mailto:jennifer.sano-franchini@mail.wvu.edu" data-auth="NotApplicable" data-safelink="true" data-linkindex="5" style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">jennifer.sano-franchini@mail.wvu.edu</span></a><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">by
Thursday, 15 September, 11:59 PM, in your time zone.</span><br style="box-sizing:border-box">
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<br style="box-sizing:border-box">
<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"><b style="box-sizing:border-box">TIMELINE</b></span></div>
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<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">CFP published – August 5, 2022</span></div>
<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Proposals due (400 words max) – September 15, 2022</span></div>
<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Authors notified – September 22, 2022</span></div>
<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Full manuscript drafts due – January 1, 2023</span></div>
<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Reviews to authors – March 1, 2023</span></div>
<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Revised manuscript due – May 1, 2023</span></div>
<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Final manuscript due – July 15, 2023</span></div>
<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Special issue published – November 1, 2023</span></div>
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<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"><b style="box-sizing:border-box">CONTACT</b></span><span style="font-size:12pt; font-family:Calibri,Arial,Helvetica,sans-serif; margin:0px; box-sizing:border-box"><span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"> </span></span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"><b style="box-sizing:border-box">INFORMATION</b></span></div>
<span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Please direct any questions or comments about this CFP to Jennifer Sano-Franchini (</span><a href="mailto:jennifer.sano-franchini@mail.wvu.edu" data-auth="NotApplicable" data-safelink="true" data-linkindex="6" style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">jennifer.sano-franchini@mail.wvu.edu</span></a><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">)</span><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">.</span><br style="box-sizing:border-box">
<br style="box-sizing:border-box">
<div style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box"><b style="box-sizing:border-box">REFERENCES</b></span></div>
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<span style="margin:0px; box-sizing:border-box">Walton, R., Moore, K. R., & Jones, N. N. (2019).</span><span style="margin:0px; box-sizing:border-box"> </span><span style="margin:0px; box-sizing:border-box">Technical communication after the social justice turn:
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<span style="margin:0px; box-sizing:border-box">Zdenek, S. (2007). “Just roll your mouse over me”: Designing virtual women for customer service on the web.</span><span style="margin:0px; box-sizing:border-box"> </span><span style="margin:0px; box-sizing:border-box">Technical
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<span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Jennifer Sano-Franchini, Ph.D.</span></div>
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<span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Associate Professor</span></div>
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<span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Department of English</span><br style="box-sizing:border-box">
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<span style="font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">West Virginia University</span></div>
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<div class="elementToProof" style="margin:0px; box-sizing:border-box"><span style="margin:0px; box-sizing:border-box"><span style="font-size:12pt; font-family:Calibri,Helvetica,sans-serif; margin:0px; box-sizing:border-box">Morgantown, WV 26506</span></span></div>
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