ln recent years, scholars and teachers in both the broad field of Composition Studies and the more specialized arena of Computers and Composition Studies (Yancey. 2004; Selfe and Hawisher, 2004; Wysocki and Johnson-Eilola. 1999; Ball and Hawk, 2006) have begun to recognize that the bandwidth of literacy practices and values on which our profession has focused during the last century may be overly narrow. In response, a number of educators have begun experimenting with multimodal compositions, compositions that take advantage of a range of rhetorical resources^words, still and moving images, sounds, music, animation—to create meaning. In particular, the work of scholars in The New London Group (1996), Gunther Kress and Theo van Leeuwen (1996, 2001; also Kress, 2003), and Cope and Kalantzis (1999) explore the understanding of alphabetic writing as one modality among many that individuals should be able to call on as rhetorical and creative resources when composing messages and making meaning. These scholars argue for a theory of semiosis that acknowledges the practices of human sign-makers who select from a number of modalities for expression (including sound, image, and animation, for example), depending on rhetorical and material contexts within which the communication was being designed and distributed. They also note that no one expressive modality, including print, is capable of carrying the full range of meaning in a text, and point out that the texts sign-makers create both shape, and are shaped by, the universe of semiotic resources they access. For educators, the implications of this scholarly work are profound. In a 1999 chapter, "English at the Crossroads," in Passions, Pedagogies, and 21"