Visual literacy is the ability to interpret, negotiate, and make meaning from information presented in the form of an image, extending the meaning of literacy, which commonly signifies interpretation of a written or printed text. Visual literacy is based on the idea that pictures can be "read" and that meaning can be discovered through a process of reading. [1]
The notion of visual literacy has been around for quite some time. Classical and Medieval theories of memory and learning, for instance, placed a strong emphasis on how the visual format of words and lies affected the ordering of information in the mind. During the Enlightenment new emphasis was placed on training the senses through print and manuscript technologies in a way that benefitted the rising middle class. [2] [3] In addition to learning to read visual material like tables and figures, many schoolchildren learned how to write and draw in graphic patterns that made their notes more accessible and easier to access. [4] By the nineteenth century visual literacy was a core component of the national educations systems that were emerging in Europe and North America, with educational reformers like Sir John Lubbock arguing for visual tools like diagrams and models to be used in the classroom. [5]
Although there are previous well documented uses of the term "visual literacy" between the late 30s and early 60s, [6] [7] the term it is usually credited to John Debes, co-founder of the International Visual Literacy Association. [8] In 1969 Debes offered a tentative definition of the concept: "Visual literacy refers to a group of vision-competencies a human being can develop by seeing and at the same time having and integrating other sensory experiences." [9] A white paper drawn up in January 2004, defines visual literacy as "understanding how people perceive objects, interpret what they see, and what they learn from them". [10] However, because multiple disciplines such as visual literacy in education, art history and criticism, rhetoric, semiotics, philosophy, information design, and graphic design make use of the term visual literacy, arriving at a common definition of visual literacy has been contested since its first appearance in professional publications.
Since technological advances continue to develop at an unprecedented rate, educators are increasingly promoting the learning of visual literacies as indispensable to life in the information age. Similar to linguistic literacy (meaning-making derived from written or oral human language) commonly taught in schools, most educators would agree that literacy in the 21st century has a wider scope. [11] Educators are recognizing the importance of helping students develop visual literacies in order to survive and communicate in a highly complex world.
Many scholars from the New London Group [12] such as Courtney Cazden, James Gee, Gunther Kress, and Allan Luke advocate against the dichotomy of visual literacy versus linguistic literacy. Instead, they stress the necessity of accepting the co-presence [13] of linguistic literacies and visual literacies as interacting and interlacing modalities which complement one another in the meaning making process.
Visual literacy is not limited to modern mass media and new technologies. The graphic novel Understanding Comics by Scott McCloud discusses the history of narrative in visual media. Also, animal drawings in ancient caves, such as the one in Lascaux, France, are early forms of visual literacy. Hence, even though the name visual literacy itself as a label dates to the 1960s, the concept of reading signs and symbols is prehistoric.
Visual literacy is the ability to evaluate, apply, or create conceptual visual representations. Skills include the evaluation of advantages and disadvantages of visual representations, to improve shortcomings, to use them to create and communicate knowledge, or to devise new ways of representing insights. The didactic approach consists of rooting visualization in its application contexts, i.e. giving the necessary critical attitude, principles, tools and feedback to develop their own high-quality visualization formats for specific problems (problem-based learning). The commonalities of good visualization in diverse areas, and exploration of the specificities of visualization in the field of specialization (through real-life case studies).
Visual literacy standards for teaching in higher education were adopted by the Association of College & Research Libraries in 2011. [14] They were "developed over a period of 19 months, informed by current literature, shaped by input from multiple communities and organizations, reviewed by individuals from over 50 institutions, and approved by 3 ACRL committees and the ACRL Board of Directors". [15]
There are many different formats of visual literacy and also many different ways of teaching students how to interpret visual literacy. Questions to be asked when looking at visuals can be "What is going on in this photograph?" and "What comes to mind when you first look at this photograph?". This allows students to begin the analyzing process. When looking at visuals, students should be able to see, understand, think, create and communicate graphically. In order to do all, the student must always carefully observe. [16]
Film director Martin Scorsese emphasizes how children should begin developing visual literacy skills at an early age. This involves exploring how ideas and emotions are expressed and the use of lighting to create an emotional or physiological point. He explains how there is a need for children to understand these concepts. Visual literacy is taught in many schools and is becoming a more popular subject throughout the years. With technology, images and visual presentations are flourishing more than ever. [17]
A graphic organizer, also known as a knowledge map, concept map, story map, cognitive organizer, advance organizer, or concept diagram, is a pedagogical tool that uses visual symbols to express knowledge and concepts through relationships between them. The main purpose of a graphic organizer is to provide a visual aid to facilitate learning and instruction.
The Association of College and Research Libraries defines information literacy as a "set of integrated abilities encompassing the reflective discovery of information, the understanding of how information is produced and valued and the use of information in creating new knowledge and participating ethically in communities of learning". In the United Kingdom, the Chartered Institute of Library and Information Professionals' definition also makes reference to knowing both "when" and "why" information is needed.
Visual rhetoric is the art of effective communication through visual elements such as images, typography, and texts. Visual rhetoric encompasses the skill of visual literacy and the ability to analyze images for their form and meaning. Drawing on techniques from semiotics and rhetorical analysis, visual rhetoric expands on visual literacy as it examines the structure of an image with the focus on its persuasive effects on an audience.
A concept map or conceptual diagram is a diagram that depicts suggested relationships between concepts. Concept maps may be used by instructional designers, engineers, technical writers, and others to organize and structure knowledge.
Integrationism is an approach in the theory of communication that emphasizes innovative participation by communicators within contexts and rejects rule-based models of language. It was developed by a group of linguists at the University of Oxford during the 1980s, notably Roy Harris.
A reading path is a term used by Gunther Kress in Literacy in the New Media Age (2003). According to Kress, a professor of English Education at the University of London, a reading path is the way that the text, or text plus other features, can determine or order the way that we read it. In a linear, written text, the reader makes sense of the text according to the arrangement of the words, both grammatically and syntactically. In such a reading path, there is a sequential time to the text. In contrast, with non-linear text, such as the text found when reading a computer screen, where text is often combined with visual elements, the reading path is non-linear and non-sequential. Kress suggests that reading paths that contain visual images are more open to interpretation and the reader's construction of meaning. This is part of the "semiotic work" that we do as a reader.
Digital rhetoric can be generally defined as communication that exists in the digital sphere. As such, digital rhetoric can be expressed in many different forms, including text, images, videos, and software. Due to the increasingly mediated nature of our contemporary society, there are no longer clear distinctions between digital and non-digital environments. This has expanded the scope of digital rhetoric to account for the increased fluidity with which humans interact with technology.
Digital literacy is an individual's ability to find, evaluate, and communicate information using typing or digital media platforms. It is a combination of both technical and cognitive abilities in using information and communication technologies to create, evaluate, and share information.
Information and media literacy (IML) enables people to show and make informed judgments as users of information and media, as well as to become skillful creators and producers of information and media messages. IML is a combination of information literacy and media literacy. The transformative nature of IML includes creative works and creating new knowledge; to publish and collaborate responsibly requires ethical, cultural and social understanding.
Social semiotics is a branch of the field of semiotics which investigates human signifying practices in specific social and cultural circumstances, and which tries to explain meaning-making as a social practice. Semiotics, as originally defined by Ferdinand de Saussure, is "the science of the life of signs in society". Social semiotics expands on Saussure's founding insights by exploring the implications of the fact that the "codes" of language and communication are formed by social processes. The crucial implication here is that meanings and semiotic systems are shaped by relations of power, and that as power shifts in society, our languages and other systems of socially accepted meanings can and do change.
Commonly called new media theory or media-centered theory of composition, stems from the rise of computers as word processing tools. Media theorists now also examine the rhetorical strengths and weakness of different media, and the implications these have for literacy, author, and reader.
Multiliteracy is an approach to literacy theory and pedagogy coined in the mid-1990s by the New London Group. The approach is characterized by two key aspects of literacy – linguistic diversity and multimodal forms of linguistic expressions and representation. It was coined in response to two major changes in the globalized environment. One such change was the growing linguistic and cultural diversity due to increased transnational migration. The second major change was the proliferation of new mediums of communication due to advancement in communication technologies e.g. the internet, multimedia, and digital media. As a scholarly approach, multiliteracy focuses on the new "literacy" that is developing in response to the changes in the way people communicate globally due to technological shifts and the interplay between different cultures and languages.
Visual literacy in education develops a student's visual literacy – their ability to comprehend, make meaning of, and communicate through visual means, usually in the form of images or multimedia.
Agricultural literacy is a phrase being used by several universities to describe programs to promote the understanding and knowledge necessary to synthesize, analyze, and communicate basic information about agriculture with students, producers, consumers, and the public. These programs focus on assisting educators and others to effectively incorporate information about agriculture into subjects being taught or examined in public and private forums and to better understand the impact of agriculture on society.
Text annotation is the practice and the result of adding a note or gloss to a text, which may include highlights or underlining, comments, footnotes, tags, and links. Text annotations can include notes written for a reader's private purposes, as well as shared annotations written for the purposes of collaborative writing and editing, commentary, or social reading and sharing. In some fields, text annotation is comparable to metadata insofar as it is added post hoc and provides information about a text without fundamentally altering that original text. Text annotations are sometimes referred to as marginalia, though some reserve this term specifically for hand-written notes made in the margins of books or manuscripts. Annotations have been found to be useful and help to develop knowledge of English literature.
In mathematics education, a representation is a way of encoding an idea or a relationship, and can be both internal and external. Thus multiple representations are ways to symbolize, to describe and to refer to the same mathematical entity. They are used to understand, to develop, and to communicate different mathematical features of the same object or operation, as well as connections between different properties. Multiple representations include graphs and diagrams, tables and grids, formulas, symbols, words, gestures, software code, videos, concrete models, physical and virtual manipulatives, pictures, and sounds. Representations are thinking tools for doing mathematics.
The study and practice of visual rhetoric took a more prominent role in the field of composition studies towards the end of the twentieth century and onward. Proponents of its inclusion in composition typically point to the increasingly visual nature of society, and the increasing presence of visual texts. Literacy, they argue, can no longer be limited only to written text and must also include an understanding of the visual.
Multimodality is the application of multiple literacies within one medium. Multiple literacies or "modes" contribute to an audience's understanding of a composition. Everything from the placement of images to the organization of the content to the method of delivery creates meaning. This is the result of a shift from isolated text being relied on as the primary source of communication, to the image being utilized more frequently in the digital age. Multimodality describes communication practices in terms of the textual, aural, linguistic, spatial, and visual resources used to compose messages.
Metaliteracy is the ability to evaluate information for its bias, reliability, and credibility and apply them in the context of production and sharing of knowledge. It is especially useful in the context of the internet and social media. A formal concept of it was developed as an expanded information literacy framework by State University of New York academics Thomas P. Mackey and Trudi E. Jacobson. It has been used to prepare people to be informed consumers and responsible producers of information in a variety of social communities.
Multimodal pedagogy is an approach to the teaching of writing that implements different modes of communication. Multimodality refers to the use of visual, aural, linguistic, spatial, and gestural modes in differing pieces of media, each necessary to properly convey the information it presents.
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 Sight Reading: Photography and the Legible World, 4:03, Morgan Library and Museum |
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