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Grounded in a communication in the disciplines (CID) theoretical framework, this study was the first phase of a multiphased project exploring oral genres in the academic discipline of design. The purpose of this study was to provide a baseline understanding of how faculty perceive and assign meaning to the oral genres that students performed in their studios. Through qualitative observation and ethnographic interviewing over a year-long period, I explored the types of oral genres in design education, their distinguishing features, skills faculty ascribe to success for these genres, and the role of oral genres in the social communities and practices of design studios. Results illustrate four distinct oral genres in this context*/specifically defined by the prominence of visual and spatial elements and audience feedback*/within which specific skills mark success. Results also suggest oral genres function as ritualistic performances*/a metaphor that illustrates the social, situated, and rhetorical role of oral genres in this context. Ultimately, this study provides an empirically grounded foundation for communication across the curriculum practitioners and makes important theoretical contributions by suggesting a complex connection between orality and the academic discipline of design.The foyer of the College of Design is a large, rotunda shaped area. There are wires strung from one wall to the next, and metal structures hang from those wires. On the wall that faces the entrance way, there is a computer image of a threedimensional oval shaped graphic simulation being projected onto a transparent wall that leads into a set of offices. Moving out of the foyer and into the hallways,

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This study explores the intersections between facework, feedback interventions, and digitally mediated modes of response to student writing. Specifically, the study explores one particular mode of feedback intervention—screencast response to written work—through students’ perceptions of its affordances and through dimensions of its role in the mediation of face and construction of identities. Students found screencast technologies to be helpful to their learning and their interpretation of positive affect from their teachers by facilitating personal connections, creating transparency about the teacher’s evaluative process and identity, revealing the teacher’s feelings, providing visual affirmation, and establishing a conversational tone. The screencast technologies seemed to create an evaluative space in which teachers and students could perform digitally mediated pedagogical identities that were relational, affective, and distinct, allowing students to perceive an individualized instructional process enabled by the response mode. These results suggest that exploring the concept of digitally mediated pedagogical identity, especially through alternative modes of response, can be a useful lens for theoretical and empirical exploration.