What does it mean to be visually literate? Does it mean different things in the arts and the sciences? In the West, in Asia, or in developing nations? If we all need to become "visually literate," what does that mean in practical terms? The essays gathered here examine a host of issues surrounding "the visual," exploring national and regional ideas of visuality and charting out new territories of visual literacy that lie far beyond art history, such as (...) law and chemistry. With an afterword by Christopher Crouch, this groundbreaking collection brings together the work of major art and visual studies scholars and critics to explore what impact the new concept of "visual literacy" will have on the traditional field of art history. Contributors: Matthias Bruhn, Vera Dünkel, Jonathan Crary, Christopher Crouch, Peter Dallow, James Elkins, Henrik Enquist, W.J.T. Mitchell, Richard K. Sherwin, Susan Shifrin, Jon Simons, Barbara Maria Stafford, William Washabaugh. (shrink)

This article examines the emergence and flowering of visual-literacy discourse in the 1960s, locating it in the photographic milieu of Rochester, New York, whose high-profile institutions—the Kodak Company, Aperture magazine, and the George Eastman House—made significant use of the term. As these institutional actors deployed the term, they also harnessed it to practices involving sequential photography. In doing so, we argue that they established a set of concerns by which photo critics entered into dialogue with photographers and curators, (...) developing perspectives that helped shape photography well into the following decade. (shrink)

The aim of the present study was to investigate the effect of the “Visual Awareness Education Programme” developed to support the visual literacy skills of preschool children. The study group comprised 40 children (20 children in the experimental group and 20 children in the control group) attending preschool in the 2014–2015 school year. The pre-test post-test experimental model was used in the study. The “Visual Literacy Inventory for Preschool Children” and the “Children’s Visual (...) class='Hi'>Literacy Rating Inventory for Parents” were used to determine visual literacy level of children. Study results revealed significant differences in favour of the experimental group children in the sub-dimensions and the post-test scores of the “Visual Literacy Inventory for Preschool Children” and the post-test scores of the “Children’s Visual Literacy Rating Inventory for Parents”. (shrink)

Orality, literacy, and an epistemic approach tovisual narrative -- Excavating the oral characteristics of visual narrative -- Mapping the literate characteristics of visual narrative -- Between the oral and literate epistemes -- The future of the orality-literacy paradigm, cinematically speaking -- The politics of (re)presentation -- Digital technology and beyond -- Concluding remarks.

The ArgumentIn 1787 an anonymous student of the Perth Academy spent countless hours transforming his rough classroom notes into a beautifully inscribed notebook. Though this was an everyday practice for many Enlightenment students, extant notebooks of this nature are extremely rare and we know very little about how middle class children learned to inscribe and visualize knowledge on paper. This essay addresses this lacuna by using recently located student notebooks, drawings, and marginalia alongside textbooks and instructional literature to identify the (...) graphic tools and skills that were taught to Scottish children in early modern classrooms. I show that, in addition to learning the facts of the curriculum, students participated in educational routines that enabled them to learn how to visually package knowledge into accessible figures and patterns of information, thereby making acts of inscription and visualization meaningful tools that benefitted both the self and society. (shrink)

Visual aids can improve comprehension of risks associated with medical treatments, screenings, and lifestyles. Do visual aids also help decision makers accurately assess their risk comprehension? That is, do visual aids help them become well calibrated? To address these questions, we investigated the benefits of visual aids displaying numerical information and measured accuracy of self-assessment of diagnostic inferences (i.e., metacognitive judgment calibration) controlling for individual differences in numeracy. Participants included 108 patients who made diagnostic inferences about (...) three medical tests on the basis of information about the sensitivity and false-positive rate of the tests and disease prevalence. Half of the patients received the information in numbers without a visual aid, while the other half received numbers along with a grid representing the numerical information. In the numerical condition, many patients --especially those with low numeracy-- misinterpreted the predictive value of the tests and profoundly overestimated the accuracy of their inferences. Metacognitive judgment calibration mediated the relationship between numeracy and accuracy of diagnostic inferences. In contrast, in the visual aid condition, patients at all levels of numeracy showed high-levels of inferential accuracy and metacognitive judgment calibration. Results indicate that accurate metacognitive assessment may explain the beneficial effects of visual aids and numeracy --a result that accords with theory suggesting that metacognition is an essential part of risk literacy. We conclude that well-designed risk communications can inform patients about health-relevant numerical information while helping them assess the quality of their own risk comprehension. (shrink)

The appearance of mass media and a versatile medium of videos can serve the convenience and instructive information for children; on the other hand, it could abet them in implicit image consumption. Now is the time for kids' to be in need of thinking power which enables them to make a choice, applications andcriticism of information within such visual cultures. In spite of these social changes, the realities are that our curriculum still doesn't meet a learner's demand properly. This (...) research, in this context, is aimed at looking out on the currently implemented art appreciation learning process in a critical fashion, and also aimed at suggesting a plan for visual culture learning by applying the philosophy program for kids as a new alternative. The purpose of such education is toenhance the capability to solve a variety of problems they are facing in the course of daily life by reflecting their matter of concern in a curriculum. What we have to pay attention to in visual culture learning is 'visual literacy.' Such an interpretative faculty of a critical reading of images is a must especially when kids should make a judgment of value hidden in images in their daily events, make an analysis of an ideological message and make an information-oriented decision. Therefore, learners have to enrich their higher-order thinking power as well as critical thinking faculty in modern society. If there is no objection to these social surroundings, it is quite natural that philosophy education, which forms a base of a higher-order thinking for children should be handled significantly at school. (shrink)

Borrowing behavior may be more resistant to formal educational treatments than other financial behaviors. In order to study the process and results of infographics-based debt education, we used eye tracking technology (SMI RED 500 Hz) to monitor the oculomotor behavior of 108 participants (68 females) aged 18 to 60 who were shown 4 infographics. The study used an experimental design with repeated measures and an internal comparison group. We also used scales of debt literacy and a set of information (...) literacy scales: numerical, graph, and linguistic. The results confirm that short-term infographics-based debt education can improve debt literacy significantly. The difference in processing the educational contents that were not known to participants before the educational session suggests that participants with better information literacy make more considerable debt literacy progress. Specifically, we found that numerical literacy is a significant mediator of debt education results, depending on the initial level of debt literacy; this relation is moderated by the focus of visual attention on negatives of debt. We found no significant relationship between debt literacy education results and those of graph and linguistic literacy. (shrink)

In Brazilian schools, many teachers do not organize their teaching and students’ tasks and actions in a way that facilitates theoretical thinking based on the abstraction and generalization of the work content. Because many students struggle to accomplish the tasks and actions themselves, teachers guide them. Over time, the students begin to have more autonomy in executing the proposed activities, as they completed mental operations while learning. This article aims to investigate how young people’s and adults’ awareness of the countryside (...) is formed based on visual elements and writing, facilitating an understanding of their reality. A didactic–formative experiment was performed based on the cultural–historical theory. The comic books produced by the participants allowed them to develop their overall thinking, moving from the abstract to the concrete. They also formed an awareness of reality, which allowed them to have greater autonomy in the production of these stories as a means of representation and transformation of reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

An engaging guide to the skills needed to analyse images of all kinds, and a lucid introduction to the emerging field of visual culture.

This article addresses a discourse on visual culture and its comparability to visual arts in school curriculum; it focuses initially on Kevin Tavin’s 2005 history of popular and visual culture in relation to visual-art education.1 In the second part, I also discuss contributions to this discourse by Kerry Freedman2 and Paul Duncum.3 There are two concerns that I raise here about arguments made against visual-arts curriculum in this discourse. First, they are generally lacking in rigor, (...) making generalized criticisms of different writers from different sources, in an effort to describe a coherent new discipline that circulates around different names, such as “visual culture,” “popular culture,” “visual literacy,” and... (shrink)

The aim of our study was to examine the familial risk of dyslexia in Year 1 school beginners, whose parents had been diagnosed as dyslexic or exhibited symptoms of the specific difficulties in reading and writing without a formal opinion issued by a counselling centre. We found that both a dyslexia report and specific reading and writing difficulties with no formal diagnosis manifested by a family member, and parents’ reading preferences, predicted the risk of dyslexia in Year 1 children. Moreover, (...) the children at familiar risk of dyslexia, as compared with their peers at no risk, later began to babble, were less apt at self-help and liked drawing less at the age of 2-3 years, and experienced more problems with drawing a circle at the age of 3. Additionally, during Year 1 of education, they performed poorer in fine motor skills, linguistic perception and sound deletion, visual functions and attention. Such symptoms can be observed by parents and teachers during the child’s play and educational activities. Early intervention can enhance the child’s readiness to school entry, and facilitate effective and satisfactory learning, increasing their further educational opportunities and the quality of life. (shrink)

This study investigated visual statistical learning (VSL) in 24 deaf signers and 24 hearing non‐signers. Previous research with hearing individuals suggests that SL mechanisms support literacy. Our first goal was to assess whether VSL was associated with reading ability in deaf individuals, and whether this relation was sustained by a link between VSL and sign language skill. Our second goal was to test the Auditory Scaffolding Hypothesis, which makes the prediction that deaf people should be impaired in sequential (...) processing tasks. For the VSL task, we adopted a modified version of the triplet learning paradigm, with stimuli presented sequentially across space and time. Results revealed that measures of sign language skill (sentence comprehension/repetition) did not correlate with VSL scores, possibly due to the sequential nature of our VSL task. Reading comprehension scores (PIAT‐R) were a significant predictor of VSL accuracy in hearing but not deaf people. This finding might be due to the sequential nature of the VSL task and to a less salient role of the sequential orthography‐to‐phonology mapping in deaf readers compared to hearing readers. The two groups did not differ in VSL scores. However, when reading ability was taken into account, VSL scores were higher for the deaf group than the hearing group. Overall, this evidence is inconsistent with the Auditory Scaffolding Hypothesis, suggesting that humans can develop efficient sequencing abilities even in the absence of sound. (shrink)

Visual stylometry is a new interdisciplinary research field that sits at the junction of digital humanities, empirical aesthetics, and computer science. Research in this field employs image analysis algorithms to study key aspects of artistic style. The nature of artistic style is the subject of ongoing debate within art history and philosophy of art. Computational and statistical methods in visual stylometry allow researchers to quantify and compare aspects of artistic style over the course of the career of an (...) individual artist, among artists who share in a common artistic style, and across different schools of art. The results of these studies provide clues to the image features that enable viewers to categorize works as belonging to different artistic styles. -/- We have developed a system that can act as an open access laboratory for visual stylometry. This approach is powerful enough to support advanced academic research in computer science, cognitive science, art history, and the philosophy of art while at the same time providing a user friendly interface accessible to students and researchers with little or no computer science background. Our framework is designed around the idea of scientific workflows. Scientific workflows allow users to build executable analyses in the same way they would draw a flowchart, by dragging objects representing data sets and image analysis procedures onto the work-space and drawing links between them. These workflows and data sets can be exported using open standards as web objects that can then be shared or modified by other users. -/- Our platform, Workflows for the Analysis of Images in Visual Stylometry (WAIVS), has the potential to promote computational literacy and data analytic skills among humanities students, to introduce science students to research in art and the humanities, to explore the nature of artistic style and its role in our understanding of artwork, and to help researchers in cognitive science understand how viewers perceptually categorize, recognize, and otherwise engage with artworks. (shrink)

Young migrants – particularly refugees – are commonly the object of stereotypical visual media representations and often have no choice but to position themselves in response to them. This article explores whether making young migrants aware of the politics of representation through media literacy education contributes to strengthening their participation and resilience. We reflect on a media literacy program developed with teachers and 100 students at a Dutch “International Transition Classes” school. The educational program focuses on (...) class='Hi'>visual media production using smartphones, raising critical consciousness and promoting civic engagement. Ethnographic data analyzed include field notes, a focus group with teachers, in-depth and informal interviews, student-produced footage, and a 10-minute ethnographic film. In our increasingly polarized mediatized world, better recognition of how the needs of certain young people diverge depending on how they are situated in racialized, gendered, and classed structures of power is needed to work towards inclusive media literacy education. (shrink)

Data literacy – the ability to analyze, interpret, evaluate, and use data and data visualizations – has become increasingly important for understanding and communicating information in the discipline of history. In the United States, curricular standards and standardized assessments already reflect this importance, but educators lack a clear picture of how students use data visualizations when reasoning about the past. How do students use data visualizations when reasoning about a historical question? To what degree does using data visualizations enhance (...) students’ historical reasoning? What challenges do students face when attempting to use data visualizations? This study addresses these questions, investigating how fifth-grade, eighth-grade, and high school students use data visualizations from typical school textbooks. Twenty-seven students were interviewed, surveyed, and asked to think aloud about a historical question while using a textbook entry that included a data visualization. Results from qualitative and quantitative analyses highlight the potential for data visualizations to enhance historical reasoning. However, results also indicate that students are unlikely to read data visualizations on their own, underscoring the importance of providing targeted data literacy instruction. (shrink)

Number processing abilities are important for academic and personal development. The course of initial specialization of ventral occipito-temporal cortex sensitivity to visual number processing is crucial for the acquisition of numeric and arithmetic skills. We examined the visual N1, the electrophysiological correlate of vOTC activation across five time points in kindergarten, middle and end of first grade, second grade, and fifth grade. A combination of cross-sectional and longitudinal EEG data of a total of 62 children at varying familial (...) risk for dyslexia were available to form groups of 23, 22, 27, 27, and 42 participants for each of the five time points. The children performed a target detection task which included visual presentation of single digits, false fonts, and letters to derive measures for coarse and fine digit sensitive processing across development. The N1 amplitude analyses indicated coarse and fine sensitivity characterized by a stronger N1 to digits than false fonts across all five time points, and stronger N1 to digits than letters at all but the second time point. In addition, lower arithmetic skills were associated with stronger coarse N1 digit sensitivity over the left hemisphere in second grade, possibly reflecting allocation of more attentional resources or stronger reliance on the verbal system in children with poorer arithmetic skills. To summarize, our results show persistent visual N1 sensitivity to digits that is already present early on in pre-school and remains stable until fifth grade. This pattern of digit sensitivity development clearly differs from the relatively sharp rise and fall of the visual N1 sensitivity to words or letters between kindergarten and middle of elementary school and suggests unique developmental trajectories for visual processing of written characters that are relevant to numeracy and literacy. (shrink)

This Handbook of Visual Communication explores the key theoretical areas and research methods of visual communication. With chapters contributed by many of the best-known and respected scholars in visual communication, this volume brings together significant and influential work in the discipline. The second edition of this already-classic text has been completely revised to reflect the metamorphosis of communication in the last 15 years and the ubiquity of visual communication in our modern mediated lifestyle. Thriteen major theories (...) of communication are defined by the top experts in their fields: perception, cognition, aesthetics, visual rhetoric, semiotics, cultural studies, ethnography, narrative, media aesthetics, digital media, intertextuality, ethics, and visual literacy. Each of these theory chapters is followed by an exemplar study or two in the area, demonstrating the various methods used in visual communication research as well as the research approaches applicable for specific media types. The Handbook of Visual Communication is a theoretical and methodological handbook for visual communication researchers and a compilation for much of the theoretical background necessary to understand visual communication. It is required reading for scholars, researchers, and advanced students in visual communication, and it will be influential in other disciplines such as advertising, persuasion, and media studies. The volume will also be essential to media practitioners seeking to understand the visual aspects of how audiences use media to contribute to more effective use of each specific medium. (shrink)

This article combines thoughts about childhood, visual culture and education. It is known that we live among multiple images that shape the way we see our reality, and researchers in the visual culture field investigate how this role is played out in our culture. The goal is to make some applications those ideas, to think about the relationship between the images and education. This article tries to grasp what visual culture is and in what ways presumptions about (...) childhood generate and are generated by this association. It also discusses the genesis of these presumptions and the images they generate through a philosophical approach, questioning the role of education in a culture tied to the media, and about how children, who are familiar with multiple screens, presage a new visual literacy. We see how images play a fundamental role in the way children give meaning to the world around them and to themselves, in the context of their local culture. Given this context, it is necessary to consider how visual culture is tied to the elementary school, and what challenges confront the generation of wider and more creative ways to approach visual framing in children’s education. (shrink)

The article is a critical response to Stefán Snævarr’s “Pragmatism and Popular Culture: Shusterman, Popular Art, and the Challenge of Visuality.”In its first part, I attempt to prove that several of Snævarr’s claims about popular culture and new media, which form the basic premises of his diagnosis of the alleged intellectual decline of the West, are either dubious or wrong. Moreover, in the context of this diagnosis, Snævarr levels some serious accusations against Richard Shusterman’s theory of popular culture, which, I (...) believe, are ungrounded and do not do justice to the latter’s approach. Henceforth, the remainder of the article is devoted to explaining in which aspects Snævarr’s interpretation of Richard Shusterman’s theory is misguided. (shrink)

The relationship between first and second language literacy was examined by identifying the skills and processes developed in the first language that were transferred to the second language. The performance of 40 university students from The People's Republic of China, Hong Kong, Vietnam and Australia were compared on a series of tasks that assessed phonological awareness and reading and spelling skills in English. The results indicated that the Hong Kong students (with non-alphabetic first language literacy) had limited phonological (...) awareness compared to those students with alphabetic first language literacy. The reading and spelling tasks showed no differences between the groups on real word processing. However, the students from Hong Kong had difficulty processing nonwords because of their poor phonological awareness. The results supported the hypothesis that people learning English as a second language (ESL) transfer their literacy processing skills from their first language to English. When the phonological awareness required in English had not been developed in the first language, ESL students were limited to a whole-word, visual strategy. The findings indicate that students from non-alphabetic written language backgrounds might have difficulties with new, or unfamiliar words when attending universities where English is the medium of instruction. (shrink)

The growing influence of the visual media in contemporary society is quite alarming; hence, learning to explicate them is inevitable. This is a paradigm shift from verbal argumentation to visual argumentation. The aim of this article is to contribute to the understanding of visual analysis and visual literacy, a part of discourse analysis. Visuals employ a number of rhetorical devices; however, understanding the effectiveness of these devices is still a challenge. Adopting Visual Argumentation Theory, (...) the article analyzes argumentation in cartoons on the post-election violence that rocked Kenya in 2007/2008. From the analyses, it is concluded that visuals can argue as simply and forcefully as their verbal counterparts. The blending of caricature and portraiture makes them even more explicit as portraiture denotes the characters so that we can recognize who they are; caricature ridicules them, analogy attributes actions to them in a satirical or sarcastic way, and cultural memory is needed to access the reference to the analogies. Visuals are designed to make the reader think not only about the event or the people being portrayed but also about the message being communicated. This means visuals have the ability to stretch the truth beyond caricature or mere amusement. (shrink)

Em vista da grande multiplicidade de linguagens e considerando que a alfabetização é uma importante prática de letramento na constituição da criança, este artigo tem o objetivo de identificar o tipo de abordagem dado à imagem em um livro didático do 1º ano, aprovado pelo PNLD. O intuito é discutir em que medida a amostra analisada favorece uma leitura compreensiva e crítica do texto imagético. Para tanto, as ponderações foram realizadas por meio de uma epistemologia interpretativa, à luz da teoria (...) dos letramentos sob uma perspectiva sociocultural, e também a partir da sintaxe da linguagem visual, que pode trazer uma contribuição positiva às análises discursivas visuais. A pesquisa indica que a imagem é proposta a partir de perspectivas socioculturais; que as atividades de leitura favorecem o letramento visual e que a condução do professor pode fazer diferença nas abordagens e leituras.Considering the multitude of languages and the fact that beginning literacy is a key literacy practice in children's education, we aim at identifying how images are approached in a textbook used in the first grade of elementary school and accredited by Brazil's National Textbook Program. We also seek to discuss the extent to which the analyzed sample provides a comprehensive and critical reading of visual texts. The analysis was done based on interpretive epistemology, the sociocultural approach to literacy, and visual language syntax, which can contribute positively to the analysis of visual discourse. We concluded that the image in the sample is presented from sociocultural approaches, that the reading activities foster visual literacy, and that teachers' support plays a significant role in adopting approaches to reading and in conducting reading activities per se. (shrink)

The results of two experiments are analyzed to find out how artistic expertise influences visual search. Experiment I comprised survey data of 1,065 students on self-reported visual memory skills and their ability to find three targets in four images of artwork. Experiment II comprised eye movement data of 50 Visual Literacy experts and non-experts whose eye movements during visual search were analyzed for nine images of artwork as an external validation of the assessment tasks performed (...) in Sample I. No time constraint was set for completion of the visual search task. A latent profile analysis revealed four typical solution patterns for the students in Sample I, including a mainstream group, a group that completes easy images fast and difficult images slowly, a fast and erroneous group, and a slow working student group, depending on task completion time and on the probability of finding all three targets. Eidetic memory, performance in art education and visual imagination as self-reported visual skills have significant impact on latent class membership probability. We present a hidden Markov model approach to uncover underlying regions of attraction that result from visual search eye-movement behavior in Experiment II. VL experts and non-experts did not significantly differ in task time and number of targets found but they did differ in their visual search process: compared to non-experts, experts showed greater precision in fixating specific prime and target regions, assessed through hidden state fixation overlap. Exploratory analysis of HMMs revealed differences between experts and non-experts in image locations of attraction. Experts seem to focus their attention on smaller image parts whereas non-experts used wider parts of the image during their search. Differences between experts and non-experts depend on the relative saliency of targets embedded in images. HMMs can determine the effect of expertise on exploratory eye movements executed during visual search tasks. Further research on HMMs and art expertise is required to confirm exploratory results. (shrink)

This article focuses on the pendulum-like change in the way people read and use text, which was triggered by the introduction of new reading and writing technologies in human history. The paper argues that textual features, which characterized the ancient pre-print writing culture, disappeared with the establishment of the modern-day print culture and has been “revived” in the digital post-modern era. This claim is based on the analysis of four cases which demonstrate this textual-pendulum swing: (1) The swing from concrete (...) iconic-graphic representation of letters and words in the ancient alphabet to abstract phonetic representation of text in modern eras, and from written abstract computer commands “back” to the concrete iconic representation in graphic user interfaces of the digital era; (2) The swing from scroll reading in the pre-print era to page or book reading in the print era and “back” to scroll reading in the digital era; (3) The swing from a low level of authorship in the pre-print era to a strong authorship perception in the print era, and “back” to a low degree of authorship in the digital era; (4) The swing from synchronic representation of text in both visual and audio formats during the pre-print era to a visual representation only in print, and “back” to a synchronic representation in many environments of the digital era. We suggest that the print culture, which is usually considered the natural and preferred textual environment, should be regarded as the exception. (shrink)

In this study, 44 late elementary students’ visual behavior patterns when reading mind maps were investigated, more particularly, the intuitive processing nature of their visual characteristics, reading sequence and presentation mode. Eye-tracked data were investigated by means of static early attention and dynamic educational process mining analysis and combined with learning performance and retrospective interview data. All students seem to struggle with the map’s radial structure during initial reading. Also, the picture’s position in the map diverts students from (...) consecutively reading interconnected branches. EPM analyses revealed different reading patterns in proceeding reading behavior. Students receiving a text first, seem to grasp the radial structure slightly more and show higher information integration attempts. They also attained higher free recall and coherence scores. The study concludes with instructional design principles for urgently needed explicit visual literacy instruction in elementary grades. (shrink)

Some individuals with developmental dyslexia show dissociation in reading skills between languages. The occurrence of dissociation depends on differences in the orthographic characteristics and cognitive demands of languages. This article reports on a Korean–Japanese bilingual and biliterate boy, SJ, with developmental dyslexia, who displayed dissociation between Korean and Japanese in reading and writing accuracy. This study aimed to discuss possible accounts for the profile of his literacy skills from orthographic and cognitive perspectives. To accomplish this aim, we measured SJ’s (...) literacy skills, receptive vocabulary, and cognitive abilities in both Korean and Japanese. Then, we compared his skills to those of monolingual and bilingual children. In terms of accuracy, his reading skills in Korean did not differ significantly from those of bilinguals, although they were lower than Korean monolinguals. His spelling skills were within the average range for Korean monolinguals and bilinguals. In contrast, his reading and writing accuracy levels in Japanese were low compared to both Japanese monolinguals and bilinguals. Moreover, his reading and writing deficits were more remarkable in Japanese kanji. However, his cognitive profile was similar between languages. Specifically, he showed deficits in phonological skills and naming speed in both languages, as well as deficits in visual skills. These results were explained by the facts that visual skills are one of the significant predictors of reading and writing accuracy in Japanese but not in Korean, and that visual skills are a key in learning kanji. Thus, our case, SJ, supports the cognitive account, namely, the idea that different cognitive demands on the development of literacy skills can cause dissociation in literacy skills in bilingual children. (shrink)

In this paper, the author addresses the problem of socialisation of children with a history of disabilities and mental retardation by means of visual arts. It is important to look at the very sphere of life of these categories of children. As a rule, these children, for the most part, live in dysfunctional families, which makes it almost impossible to provide them with a form of socialization. This article focuses on the extent to which and how a programme of (...) socialisation of these children can be achieved through the medium of visual arts. At the moment there are works of modern pedagogues who have devoted their scientific researches to this problem, but there are few teachers-artists who deal with this problem. In this article the author devotes his creative attention to this issue and reflects on what means of fine arts and visual literacy can develop and guide in the right direction the socialization of children and young people with disabilities by means of fine arts. A number of scientific works devoted to this problem are seriously reviewed. The author is actively trying to draw the attention of the teaching community to the problem of prevailing social conditions, to reach an educational and cognitive level and, as a consequence, to a better product of the set task of socialization of children with special needs and disabilities in the learning process by means of subject disciplines: drawing, painting, composition, printmaking, etc. (shrink)

Cultures of Memory in South Asia reconfigures European representations of India as a paradigmatic extension of a classical reading, which posits the relation between text and context in a determined way. It explores the South Asian cultural response to European "textual" inheritances. The main argument of this work is that the reflective and generative nodes of Indian cultural formations are located in the configurations of memory, the body and idiom (verbal and visual), where the body or the body complex (...) becomes the performative effect and medium of articulated memories. This work advances its arguments by engaging with mnemocultures-cultures of memory-that survive and proliferate in speech and gesture. Drawing on Sanskrit and Telugu reflective sources, this work emphasizes the need to engage with cultural memory and the compositional modes of Indian reflective traditions. This important and original work focuses on the ruptured and stigmatized resources of heterogeneous Indian traditions and calls for critical humanities that move beyond the colonially configured received traditions. Cultures of Memory suggests the possibilities of transcultural critical humanities research and teaching initiatives from the Indian context in today's academy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings about (...) the term "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

In this paper, I take up the conciliatory-steadfast debate occurring within social epistemology in regards to the phenomenon of peer disagreement. I will argue, because the conciliatory perspective al-lows us to understand argumentation pragmatically—as a method of problem-solving within a community rather than as a method for obtaining the truth—that in most cases, we should not simply agree to disagree.

What is the nature of the aesthetic experience? Is it the same for everyone? It is possible to facilitate its occurrence? This book focuses on the psychology of the aesthetic experience and on the perception and understanding of art, suggesting ways to raise levels of visual literacy and enhance artistic enjoyment. The findings will be of importance not only to museum professionals and art educators, but also to psychologists and those interested in the nature of the aesthetic experience.

Suggests ways to raise levels of visual literacy and enhance artistic enjoyment.

This article is about time. It is about time, or more precisely, about the absence of time in law’s digital future. It is also about time travelling and the seemingly ever-popular BBC science fiction television series Doctor Who. Further, it is about law’s timefullness; about law’s pictorial past and the ‘visual baroque’ of its chronological fused future. Ultimately, it is about a time paradox of seeing time run to a time when time runs ‘No More!’ This ‘timey-wimey’ article is (...) in three parts. The first part looks to a hazy remembered past of the legal emblem tradition as presented in Peter Goodrich’s Legal Emblems and the Art of Law to learn visual literacy and also to glimpse the essential elements of modern legality with authority, decision and violence. The second part maps how these images and icons of modern legality are manifest in the Doctor Who fiftieth year anniversary special ‘The Day of the Doctor.’ The third stage looks beyond these first order meanings to understand the chronological chaos of ‘The Day of the Doctor.’ The technicity of the image as a portal through time and space that the narrative revolves around charts the implications for the digital end of time for law. (shrink)