Pub Date : 2021-09-08DOI: 10.1080/1051144X.2021.1974769
Hadara Scheflan-Katzav
Abstract The premise of the article is that the history of Western art as taught in most art curricula is fundamentally biased and patriarchal. It was primarily feminist scholars who demonstrated how modernist art paradigms are constructed by gender differences and thus reflect and reinforce gender power relations. My claim is that changing the power relations requires visual literacy skills and a new reading that will broaden or modify the standard visual reading of modernist artworks. The study offers a critical visual reading of two foundational artistic themes, each to be read through dialog between the work of a male artist and that of a female artist, the themes being ‘girl before a mirror’ and ‘the origin of the world’. The cases are taken from a course I teach to undergraduate students in education and art. For each of the themes, I present the development of an alternative critical reading of the artworks. I show how the acquisition of skills in critical feminist visual reading helps to promote the deconstruction of traditional gendered representations and allows students to read the woman as a subject rather than an object.
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Pub Date : 2021-04-03DOI: 10.1080/1051144x.2021.1902196
A. Friedman
As we experience the global growth of social media in our daily lives, we also encounter more visual content are being displayed on those platforms. Visual content often referred to the roots of interpreting visual objects uncovered in Susan Sontag’s work (1964). According to her, the result of a series of considerations that touch upon the visual object’s history, its symbolism, its manifestation, and realisation is in the eyes of the beholder. “Visual content also refers to the innovative use of images and interactive technology to explore large, high-density data sets.” (Remondino et al., 2014). While visual content has many benefits, it also brings new challenges, and one of the greatest is in education. Researchers, teachers, and students alike routinely weigh the potential benefits of using visual content in education against its risks and consequences. An additional challenge is founded on social media messages that are changing what counts as truth and lies. As instructors’ experiment with incorporating visual content into their classes, they also need to consider how students can be taught to ascertain the veracity and credibility of this visual content. To meet this need, researchers have called for more accountability view of visual literacy education. With the growing use of social media in all aspects of our life, students are constantly exposed to visual content. Their literacy practices within this environment are embedded visually including photo and video creation, video chatting, and use of visual iconic characteristics they shared, according to KeRdra & Zakevi ci ut _ e (2019). Research has found that teaching writing visually helps improve the creativity of students and thus new learning opportunities (Torrance, 1977). One of the major benefits of using images during the learning process is the enhancement of students’ memory (Alesandrini, 1984). In education, image-based writing helps students to express their thoughts and opinions and improve student interaction (Whitley, 2013). And yet, with all this progress, we have little knowledge of the role and the pedagogy of visual literacy education in teaching students to recognize visual content contains lies and truth. More specifically, what do theories, technical tools, and instructions tell us about image manipulation occurring in the classroom? This special edition will explore the emerging visual literacy of truth and lies across three major questions: Can a theoretical survey examining students’ comprehension of text and visual narrative reveal false beliefs? How can we support our students to investigate visual cultural and historical objects? And how Photoshop tools help build awareness of image manipulation in the classroom.
当我们在日常生活中体验到社交媒体的全球增长时，我们也会遇到更多的视觉内容正在这些平台上显示。视觉内容通常指的是苏珊·桑塔格（Susan Sontag）的作品（1964年）中揭示的解释视觉对象的根源。据她说，一系列涉及视觉对象的历史、象征、表现和实现的考虑的结果都在旁观者的眼中。“视觉内容还指创新地使用图像和交互式技术来探索大型、高密度的数据集。”（Remondino等人，2014）。虽然视觉内容有很多好处，但它也带来了新的挑战，其中最大的挑战之一是教育。研究人员、教师和学生都经常权衡在教育中使用视觉内容的潜在好处及其风险和后果。另一个挑战建立在社交媒体信息的基础上，这些信息正在改变真相和谎言。作为教师将视觉内容融入课堂的实验，他们还需要考虑如何教授学生，以确定这些视觉内容的真实性和可信度。为了满足这一需求，研究人员呼吁对视觉素养教育采取更多的问责制观点。随着社交媒体在我们生活的各个方面的使用越来越多，学生们不断接触到视觉内容。KeRdra&Zakevi ci ut _ e（2019）表示，他们在这种环境中的识字实践在视觉上是嵌入的，包括照片和视频创作、视频聊天，以及使用他们共享的视觉标志性特征。研究发现，直观地教授写作有助于提高学生的创造力，从而获得新的学习机会（Torrance，1977）。在学习过程中使用图像的主要好处之一是增强学生的记忆力（Alesandrini，1984）。在教育中，基于图像的写作有助于学生表达自己的想法和意见，并改善学生互动（Whitley，2013）。然而，随着这些进步，我们对视觉素养教育在教学生认识到视觉内容包含谎言和真相方面的作用和教育学知之甚少。更具体地说，关于课堂上发生的图像处理，理论、技术工具和说明告诉我们什么？本期特辑将探讨三个主要问题中新兴的真理和谎言的视觉素养：一项考察学生对文本和视觉叙事理解的理论调查能否揭示错误的信念？我们如何支持学生调查视觉文化和历史物品？以及Photoshop工具如何帮助在课堂上建立对图像处理的认识。
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Pub Date : 2021-03-31DOI: 10.1080/1051144X.2021.1902045
Lilia Topouzova
Abstract In my university classroom teaching, I draw on my interdisciplinary background as both a humanistic scholar and a documentary filmmaker, presenting an approach to learning that integrates scholarship with a digital storytelling practicum. Questions that scrutinize the relationship between written and visual discourses, the possibilities and limits of each, inform both my research and pedagogical practices. Terms such as ‘historiophoty’ (White, 1988) and ‘visionary history’(Rosenstone, 1988) were coined to describe the possibility of the study of history through film and images. The tensions embedded in these pioneering studies continue to animate current research and pedagogical discourses while raising pertinent questions. How can images help us learn about the past? Is it necessary for films to be historically accurate? I consider these questions and expand on anthropologist’s John Jackson Jr’s formulation of “what scholarship entails in our media age." I discuss my visual literacy pedagogical trajectory that culminated with a methodology I developed that merges elements of the academic and documentary film worlds, demonstrating the possibilities for interdisciplinary collaboration. This curriculum aims to visualize scholarly research and produce a digital media project that consists of technical and applied learning of the five stages of media production adapted for the university classroom.
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Pub Date : 2021-03-29DOI: 10.1080/1051144X.2021.1902044
Kelley Donner
Abstract Theory of mind skills are critical to understanding and interpreting many illustrations in primary school literature especially those which are used in material for the purpose of learning to read. Unfortunately, children who learn to read at an early age as well as mainstreamed children, such as those with autism, often have grave deficiencies in theory of mind skills which is necessary in order to understand first- and second-order perspective narratives. Thirty-one early readers were analysed for first- and second-order perspectives as well as for the possibility of first- and second-order false-belief scenarios. Results showed that there is a high probability that children will be confronted with early readers that require complex theory of mind skills for comprehension. In addition, four early readers were examined in more detail in case studies to see how the relationship of text to illustrations as well as the composition of the illustrations themselves either aided comprehension or increased the possibility of false belief scenarios. Finally, various tools for increasing visual literacy in regards to illustrations were discussed, such as the use of prolongation, speech bubbles, close-ups and text enhancement.
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Pub Date : 2021-03-26DOI: 10.1080/1051144X.2021.1902041
J. Swerzenski
Abstract Among the most difficult aspects of building visual literacy is creating awareness of manipulation, a task made continuously harder by the prevalence of ‘Photoshopped’ or digitally altered photos through fake news or our everyday usage of photo editing apps. So how are educators to build awareness of visual literacy when manipulation has become ubiquitous? I argue that understanding the credibility of visual content must go beyond viewing the image as identifying whether a photo has or has not been manipulated. Instead, it requires a technical comprehension of the process by which images are created, allowing educators to discern between visual lies and everyday image editing. To this end, I position Photoshop as a teaching tool, one that offers educators and students a backstage view at the mechanisms of image alteration technology. In building a technical and rhetorical understanding of three key Photoshop tools—airbrush, layers, and filters—I outline a guide for using these tools grounded in critical considerations of how their use affects visual meaning. From this understanding, educators can move beyond blanket criticism of visual manipulation and into the ethical nuances of photo editing that distinguish meme from misinformation.
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Pub Date : 2021-01-02DOI: 10.1080/1051144X.2021.1902043
Ernesto Peña, Teresa Dobson
Abstract Until today, the most accepted notion about the coinage of visual literacy as a concept has been credited to John Debes in the late 1960s. In this paper, the authors describe the use of available digital tools to unearth a history of the concept of visual literacy in education that precedes in roughly 30 years these events. These overlooked years shed light on the role of technology, policy and industrial intervention have played in the development of a concept that has only increased in relevance and popularity within education over the last decades. This paper also invites the reader to consider the potential of previously unavailable tools to revisit and re-examine the events that have shaped and will continue to shape the landscape of education.
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Pub Date : 2021-01-02DOI: 10.1080/1051144X.2021.1902038
Nina R. Schoonover
Abstract This qualitative case study explored the experiences of two teachers participating in a visual literacy online professional development course sponsored by a state-funded art museum. As the world becomes more visual, there is a continued need for teachers to develop the skills needed to foster visual literacy in their students; therefore, the goal of this work was to amplify the experiences of these veteran teachers throughout the course, as well as in their classrooms, to reflect their growth throughout the program. Drawing primarily on Tishman’s ‘slow looking’ and Perkins’ (1994) concept of the ‘intelligent eye’ and the ‘dispositions’ for viewing art, the study was framed around the following research questions: 1) What are the experiences of teachers participating in an online visual literacy course? and 2) What dispositions do teachers take on when fostering visual literacy in their classrooms? The findings from this study highlight some of the difficulties the teachers faced, particularly in navigating an online terrain, but also some levels of discomfort with the visual literacy material. However, they also reveal how the two teachers found new ways to ‘attend’ to art, as well as new classroom skills and techniques they each brought back into their classrooms.
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Pub Date : 2021-01-02DOI: 10.1080/1051144X.2021.1902039
V. Lechner
Abstract For creating and reading data visualizations, visual literacy is crucial. This article advances the knowledge about graphical variations and conventions related to the basic graphical element of the graphical line used as a connector in data visualizations. Some visual characteristics of connecting lines can be used to show directionality and thus signal a narrative claim. Arrowheads may be one way to do so. However, particularly in a digital environment, other techniques may be used as well. This article presents a corpus study investigating the ways in which narrativity is signalled by connecting lines in current, publicly available digital data visualizations. The central connecting lines of 163 award-winning data visualizations are analysed with focus on their visual forms and how they represent actions and situations. The repeated occurrence of some visual techniques points to conventions formed both by a long tradition of analogue visualization and the advent of digital production techniques and output devices. The presented results are relevant to researchers, educators and practitioners in the data visualization field, as they provide novel empirical data on the use of an omnipresent graphical element.
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Pub Date : 2021-01-02DOI: 10.1080/1051144X.2021.1902040
E. Brumberger
Abstract The multitude of disciplines, perspectives, and practices that inform the study of visual literacy is incredibly valuable, but at the same time it means our research lacks a shared set of methodologies and methods. Unfamiliar research approaches may lead to mistrust of research findings and, even more problematic, to missed opportunities for knowledge development, opportunities that are vital to progress in the field. Eye tracking is one such method that is likely to be outside the traditional disciplinary approaches of most visual literacy scholars, yet it has the potential to be productive for many of the types of questions that the field seeks to answer. Following an introduction to eye-tracking methods, terminology, and data types, the article provides an overview of past eye-tracking research that can inform visual literacy studies. The article then turns to a discussion of visual literacy research that could potentially be addressed by eye-tracking methods.
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Pub Date : 2021-01-02DOI: 10.1080/1051144X.2021.1902042
Yvonne Behnke
Abstract This contribution evaluates opportunities and challenges concerning the conception and utilization of visuals in current German geography textbooks from multidisciplinary theoretical perspectives. The designer’s point of view, with insights from visual communications, information design, user experience design, and instructional design, will be discussed, together with the findings from work in the fields of media studies, educational psychology, and geography education. Based on the theoretical approach, a discussion will be put forth regarding the usability aspects of visual design features in geographical learning media, relations between visual attention, visual search strategies, visual literacy skills, instructional design strategies, subject didactics, and motivational aspects of knowledge construction through today’s multimodal geography textbooks. This contribution suggests six usability qualities of visual design elements in textbooks that may affect learning motivation and knowledge construction: aesthetics (visual appealing), (quick and easy) orientation, usefulness (relevant information complementing text information), helpfulness (support with completing tasks and content comprehension), interest (relevant content, new perspectives), and comprehensibility (image content connects to the topic). A model embeds the evolved usability qualities of ‘well-designed’ textbooks into existing theoretical models from the fields of educational psychology, visual communications, media studies, and geography education.
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