Abstract: Preface Introduction 1. Concepts of Culture 2. The Concept of the Visual 3. Visual Culture as a Field of Studies, and the Origins of Visual Culture Studies 4. Coping with Theory 5. Production, Distribution and Consumption Model 6. Institutions 7. Looks, the Gaze and Surveillance 8. Visual Literacy and Visual Poetics 9. Modes of Analysis 10. The Pleasures of Visual Culture 11. The Canon and Concepts of Value 12. Visual Culture and Commerce 13. New Technologies Appendix: Modular Schemes Bibliography Index -- .

Abstract: This article presents strategies for reading visual images. It illustrates how visual systems inform the process of listening for the meaning of foreign language words and phrases.1 We propose that the ability to read picture sequences as meaningful systems constitutes an important “visual literacy” that is essential for verbal comprehension of videos: An ability to recognize that visual images—such as what the camera focuses on, how much or how little is shown, and which people or objects are visually dominant or subordinate to others— suggest a pattern of values. Identifying values implied by these pictorial messages, we propose, helps students recognize how pictorial messages are underscored and elaborated in a video's spoken language. For this undertaking, we first briefly review key research and pedagogy in the field and then present an exercise sequence for video use that proceeds from visual to verbal systems appropriate for beginning language instruction. In conclusion, we suggest ways in which our strategies apply to a larger curricular program that integrates media in its overall learning objectives.

Abstract: Contemporary culture is increasingly captured by and reflected in visual materials. Preserving and providing intellectual access to visual records will become an increasingly important aspect of archival work as such materials proliferate and are widely available in electronic form. Visual literacy, an evolving concept best defined as the ability to understand and use images and to think and learn in terms of images, is an essential skill for archivists and researchers using visual materials. Archivists of all media should strive to increase their visual literacy because of the complex ways in which visual and "traditional" textual documents interrelate. Archivists can approach visual literacy by becoming familiar with levels of visual awareness; participating in the ongoing discourse about the nature of literacy, including the relationships between visual and textual literacy; and increasing understanding of the special characteristics of image-creating technologies as well as the conventions and modes of expression associated with particular media. Expanded visual literacy will help archivists to understand and better describe visual resources as well as traditional documents and other materials of record. The results, improved finding aids and catalog records, will keep pace with anticipated expanding requirements of the research community. Most archivists recognize that contemporary culture is increasingly captured by and reflected in visual and audiovisual documents, and that the proliferation of such materials presents new challenges to the archival profession. Archivists have demonstrated their appreciation of these challenges by organizing conference panels, workshops, committees, professional associations, and Internet discussion groups dedicated to exploring archival issues related to visual media. The concerns voiced in these forums have, with few exceptions, focused on understanding the physical aspects of the media for practical ends. Preservation techniques, scanning equipment and methods, and the technological manipulations needed for multimedia applications are among the most frequently discussed topics. These efforts to deal with physical and practical aspects of visual materials are essential, but archivists should also devote corresponding attention to underlying intellectual issues. Case studies on use and interpretation of visual materials in specific historical and cultural contexts, examinations of the complex and shifting relationships between print media and audiovisual media, and focused explorations of the This content downloaded from 157.55.39.208 on Fri, 29 Jul 2016 04:50:27 UTC All use subject to http://about.jstor.org/terms 108 ARCHIVAL ISSUES Vol. 21, No. 2, 1996 technology and material characteristics of visual media in relation to their intellectual contents will become increasingly necessary as these materials come to constitute more of, and interrelate more closely with, the contemporary archival record. An adequate knowledge base supports any practice, and understanding the characteristics of visual materials is crucial to archival practices such as appraisal, arrangement, and description. Furthermore, a level of competence and sophistication with the intellectual issues presented by a record's visual content is increasingly important for archivists of any medium. Contemporary, overlapping, and obsolete document forms are peculiarly interrelated. New materials of record require archivists to rethink their perceptions about concurrent or previously used document forms, and therefore to rethink their conceptions of archival theory and practice. "A new medium," as Walter Ong has observed, "transforms not only the one which immediately precedes it but often all of those which preceded it all the way back to the beginning."1 Explorations of the present dimensions of literacy and its future are of increasing philosophical and practical importance. "What will be the intellectual character of the new society, [and what will constitute the] 'literacy' of its people?" asked the editor of a 1982 issue of Daedalus entitled "Print Culture and Video Culture." How should those who engage intensively with documents archivists and historians, for instance conceive of, cope with, respond to, and prepare for these changes?2 More specifically, how should archivists approach visual materials in an informed manner, or approach "traditional" materials with a knowledge of their relationship to visual materials? The declaration that this is a culture reliant on visual communication, and that all members of such a culture require a particular set of abilities for interpreting images, is by now familiar.3 How can archivists achieve a professional consciousness of these skills? Understanding the visual content of documents entails facility with a complex and little understood set of skills, described in this paper as "visual literacy." Visual literacy is essential for people bombarded by television, news photos, advertisements, digital images on the World Wide Web, and other aspects of our contemporary super abundance of visual stimulation. Yet how is visual literacy practiced? What individual skills does it require? Does it involve a solely interpretive set of skills, or has it an expressive component as well? How does it relate to other communications processes? Is visual literacy merely a component of human cognitive development, or is it learned, and thus tied to culture-specific conventions for communication? If the latter, then by what methods can it be taught? If visual communication is a form of "literacy," then to what extent can the dimensions of visual information be understood by analogy to language? By extension, to what extent can visual materials be understood by analogy to traditional textual materials? Whether archivists consciously consider these questions or not, they affect daily archival work. Whether they realize it or not, archivists who work with visual materials, even on an occasional basis, grapple with visual awareness on several levels. Archivists, like others, will have to wait for a full understanding of the implications of visual materials. Additional research and additional hindsight are required. In the meantime, there are ways in which archivists can begin to gain an interesting and useful understanding of visual literacy issues. This paper serves as a preliminary articulation of questions about the nature of visual expression and interpretation, and a preliminary This content downloaded from 157.55.39.208 on Fri, 29 Jul 2016 04:50:27 UTC All use subject to http://about.jstor.org/terms

Abstract: This paper illustrates and explains the relationship between drawing ability and spatial and visual-perceptual ability; it defines those terms and explores their connection to intelligence and information processing as well as their potential implications for education and training. Discussion covers results of recent studies, which suggest that art behavior and spatial ability are normally distributed. In addition, the paper shows that drawing and spatial/visual-perceptual skills demand similar brain functions for information processing: drawing, as an output of visual perception, enables the conversion of an abstract visualization to a concrete product. This involves a cognitive operation, sometimes called information processing, which allows transference of one type of information to another. The suggested implication is that all students have drawing and spatial potential that may be developed through art education in general, and through drawing experiences in particular. Training in visual literacy, in drawing, and in communication through visual perception may enhance the effectiveness of the use of computers and multimedia, an ever-present and growing force in today's society. (Contains 49 references.) (AEF) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** Drawing as Visual-Perceptual and Spatial Ability Training Barbara J. Orde Chadron State College Abstract The purpose of this discussion is to illustrate and explain the relationship between drawing ability and spatial/visual perceptual ability and their potential implications for education and training. This work defines drawing, spatial, and visual-perceptual abilities, and their connection to information processing and intelligence. It also discusses results of recent studies which indicate art behavior and spatial ability are normally distributed. The suggested implication is that all students have drawing and spatial potential that may be developed through an education in general and drawing in particular.The purpose of this discussion is to illustrate and explain the relationship between drawing ability and spatial/visual perceptual ability and their potential implications for education and training. This work defines drawing, spatial, and visual-perceptual abilities, and their connection to information processing and intelligence. It also discusses results of recent studies which indicate art behavior and spatial ability are normally distributed. The suggested implication is that all students have drawing and spatial potential that may be developed through an education in general and drawing in particular. Background Drawing may be the most important variable in art performance and ability. "...[I]t is the easiest mode of visual arts expression to assign, administer, and measure; more importantly, it has been recognized as basic to expression in all art forms and as a correlate of many other attributes, including general intelligence...") Stalker as cited in Clark, 1989, p. 99). In fact, some believe the development of this skill is important to the total development of the child. As Robach states "...I have come to believe that drawing is the missing link to American success in educating every child" (1994, p. 3). Given the above assertion, why doesn't the education system place more emphasis on the development of visual-perceptual skills? This is not a foreign concept. It has long been a consensus among art educators "...that developing or increasing visual readiness is one of the major goals of a good art program" (Herberholz & Alexander, 1985, p. 22). A brief look at the history of art education may shed some light on this dilemma. The form and function of art education has changed over the years due to the change in the philosophical underpinnings. Art in the schools had various objectives from the practical needs of life (crafts oriented) and the development of hand-eye coordination and the acquisition of mechanical skills necessary for the industrial age (Eisner, 1972). In the latter half of the 20th century the concept of innate creativity came to the fore changing the focus of art education from specific skills training to that of enrichment of the total individual. As a result, the role of the art teacher changed from instructor to nurturer. Instead of the rigid training of specific skills, the teacher became a provider of materials who encouraged self-expression.. The art teacher's function became that of observer and facilitator thus reflecting one of today's popular philosophies in art education (Gardner, 1990). This approach to education in the visual arts has had a notable impact on the perception of the learner both from the teachers' and students' perspectives. Students who had more developed visual perceptual skills succeeded in meeting or exceeding expected standards for art production. This led to the belief that only some individuals were "talented" or had "special gifts". Accordingly, some educators, students, and the general public have come to believe that art skills are a behavioral peculiarity attributed to only a few (Clark & Wilson, 1991). Recent studies, however, suggest art behavior is normally distributed (Clark, 1993; Edwards, 1979; Gardner, 1982; Gardner, 1993). Others also believe there is a link between art and spatial ability (Eliot & Smith, 1983). Visual perception is needed for the development of drawing and spatial skills as the sensory input for both is primarily visual. If visual-perception can be taught and learned through drawing training, then the concept of artistic "giftedness" may be redefined as a skill potential that may be developed beyond an expected norm resulting from life experience alone. Consequently, if spatial ability is related to, and possibly improved by drawing, i.e., visualperceptual training, perhaps it is feasible to train perception through drawing. Drawing Ability Drawing exhibits principles of design some of which can be evaluated by a test instrument called the Clark's Drawing Abilities Test (CDAT) (Clark, 1987). These drawings may be either representational or stylized (see Figure 1) without effecting the scoring rubric. Each task on the CDAT is rated on a scale of one to five. U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document has been reproduced as received from the person or organization originating it. Minor changes have been made to improve reproduction quality. o Points of view or opinions stated in this document do not necessarily represent official OERI position or policy. 271

Abstract: This study investigates children's spatial cognition in the microcomputer environment created by "HyperGami." Two categories of spatial cognition have been described: spatial visualization, which involves mentally rotating, manipulating and twisting twoand three-dimensional objects; and spatial orientation, which involves the ability to remain unconfused by changing orientations of spatial configurations. "HyperGami" is a computer application which allows students to design, decorate, explore, and manipulate a two-dimensional net made up of polygons and their associated three-dimensional solids. Subjects for this study were 12 sixththrough ninth-grade students in the University of Wyoming Laboratory School. Students were given pretests and posttests. Once a week for a period of 6 weeks, the subjects interacted individually with "HyperGami" for 1 hour. They were divided into three groups, each with different exploration exercises and different aims. In the first group, each subject made gains in their ability to recognize the nets of solids, which require spatial visualization ability. Results from the second group suggest that interaction with "HyperGami" may have helped the subjects improve their ability to visualize the solid from its two-dimensional net. No evidence was found in the third group to show that the hours spent interacting with HyperGami helped the children to count vertices, to count faces, or to identify faces after truncation of vertices. Appendices present the polygon configurations used in the pretest and posttest. (Contains 31 references.) (AEF) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ******************************************************************************** Exploring Children's Spatial Visual Thinking In An HyperGami Environment Patricia McClurg, Jung Lee, Maria Shavalier & Kermit Jacobsen U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document has been reproduced as received from the person or organization originating it. Minor changes have been made to improve reproduction quality. Points of view or opinions stated in this document do not necessarily represent official OERI position or policy. Abstract The purpose of this study is to investigate children's spatial cognition in the microcomputer environment created by HyperGami. The results of exploratory study suggest that HyperGami is a rich environment for developing spatial visual thinking skills.The purpose of this study is to investigate children's spatial cognition in the microcomputer environment created by HyperGami. The results of exploratory study suggest that HyperGami is a rich environment for developing spatial visual thinking skills. Introduction Can computer environments nurture spatial visual thinking? From a constructivist perspective, spatial cognition develops in thecourse of active involvement with the environment by the child who must assimilate and accommodate experiences into existing schemata (Piaget & Inhelder, 1956). Papert used the computer as a medium to pioneer such an environment when he created LOGO which he described as a microworid where students can formulate and test theories (Papert,1980). Numerous programs now purport to be microworlds which users can visit and explore. But, could such an environment nurture spatial visual thinking? Clark (1983) cautioned against over generalizing the effect of the computer (or any medium) on instruction and stated that "the best current evidence is that mediaare mere vehicles that deliver instruction but do not influence student achievement any more than the truck that delivers our groceries causes changes in our nutrition."(p.445). Clark called for a new theoretical model to guide technology research. A decade later Kozma (1991) outlined a framework which builds on the idea that the learner actively collaborates with the medium to construct knowledge rather than having the learning "delivered" via some medium. Kozma argues that each medium has unique characteristics in terms of how it is used, the symbol systems employed and the cognitive processing capabilities required and states that "ultimately, our ability to take advantage of emerging technologies will depend upon the creativity of their designers, their ability to exploit the capabilities of the media, and our understanding of the relationship between these capabilities and leaming"(p.206). The explorations reported in this paper investigate children's spatial cognition in the microcomputer environment created by HyperGami. Why Spatial Visual Thinking? As early as 1957, the U.S. Employment Service listed performance on spatial ability tasks as a predictor for success in occupations including all classes of engineers and draftsmen, architects, cartoonists, mathematicians, scientists, an virtually all medical personnel. Studiesfollowed which demonstrated high correlation between performance on spatial ability measures and success in art (McWhinnie, 1994), science (Pallrand & Seeber, 1984; Gimmestad, 1984; Pribyl &Bodner, 1987), and mathematics (Battista, 1990; Fennema & Sherman, 1977; Guay & McDaniel 1977). Studies of the brain and cognition have resulted in calls for educators to recognize and nurture "multiple intelligences" (Derilda, 1991; Gardner, 1993; Lazearz, 1994). Spatial visual thinking is an area of cognition which often receives little formal attention in our school systems. The computer is a medium with capabilities for creating dynamic microworid environments where children have control over actions and can formulate and test theories and strategies which require coordination ofhorizontal and vertical axes as well as mental manipulation and rotation of objects through space. In fact some evidence exists that many computer applications require some degree of spatial cognition. Norman (1994) thought that computer-based technology might amplify individual differences and tried to find the major sources driving differences in performance. He described a high correlation bePERMISSION TO REPRODUCE THIS tween spatial visualization ability and computer MATERIAL HAS pc=N GRANTED BY performance. Vicente, Hayes, and Williges Alice D. Walker

Abstract: There are several challenges inherent in teaching visual communication. One is the balance of skills training and visual literacy that is a necessary part of creating articulate, visual products. Another challenge is balancing a focus on the form or product of communication with the process of developing content. In many cases, concern for the form overwhelms the process of design and content development while placing the focus on the final product: the newsletter, magazine, newspaper design. For example, in the classroom an approach that focuses on the product might offer students a variety of templates that represent "good" layout. The student is allowed to work within these templates. Often the results are adequate, but familiar. On the other hand, if the focus is placed on the process of design, the student may be frustrated by the myriad of choices and the awkward exploration that is a necessary part of developing both skill and aesthetic sense. The beginning student may not have an ability to organize the process in a coherent way nor to evaluate the effectiveness of the results. For example, when designing corporate identity (logos) I often require that students develop at least 50 idea sketches before attempting to narrow their selection to a final version. The reaction is always painful. First of all, students seldom believe that they have 50 ideas available to them. Secondly, students seldom have any experience narrowing their visual choices if they succeed in developing 50 ideas. In reality, both product and process are important components of visual communication design education. In the classroom, basic skills must be revealed through projects that build a foundation of technical understanding (print production processes and digital delivery systems), production skills (software basics and design tools), and presentation methods. Students must also develop an approach to problem-solving that is self-directed and strategic. Further, the process of visual communication is by its nature a creative one. In fact, we've just described a tall order for the student: to develop the product of visual communication while involved in a process that is creative, strategic, content-driven, and that will result in effective communication using visual media. Nonetheless, it is possible to interject strategy without compromising exploration. One such approach is to develop a process for the critique of visual work that allows for creative exploration while also offering a strategic, purposeful underpinning to guide student discussion of the results. Students can be empowered to examine their work in a self-directed way through a three-step process of description, interpretation, and evaluation. This paper will describe each of these steps and will offer a framework for directing the discussion of student work through directed questioning. Critique dynamics The process of critique in a visual communication classroom is one that is often characterized by students claiming that "they like" an object because it is "awesome" while other students nod in agreement. The discussion or critique is often filled with opinions that lead to conclusions and the result is more confusing than constructive. If the process of critique is undirected, the discussion generally results in identifying visual products that are packaged well or presented professionally. There may be little concern for the effectiveness of the message and there may be no clear recognition of how or why the work is successful. The critique, in this case, is focused on the product rather than the process. The process of critique is not an intuitive one; most of us can benefit from an approach that offers a framework for effective analysis, particularly when the object is the critique of student visual communication efforts. The critique becomes a process of knowledge building rather than ego gratification. All knowledge exists through critical thought and all disciplines are modes of thought. …

Abstract: A picture can be interpreted in different ways by various persons. There is often a difference between a picture's denotation (literal meaning), connotation (associative meaning), and private associations. Two studies were conducted in order to observe the private associations that pictures awaken in people. One study deals with associations made from slides; the other with interpreting pictures in advertisements. In the first study, 25 university students were shown slides, then asked to write the associations called to mind by the image content in each slide. Chains of association reflecting the subjects' trains of thought are discussed and examples provided. The conclusion was drawn that teachers who use slides in their verbal presentations must realize that pictures can generate a variety of associations in audiences. Thus, it may be concluded that pictures used in information and instructional material, always should have captions to guide the understanding of the content. In the second study, six advertisements were chosen at random from .an airline magazine. Trademarks were hidden, and the advertisements were shown to 50 students, who were asked to write down what company they thought the advertisement represented; type of product; company or trademark they believed the advertisement was meant to promote; and whether they had seen the picture before. Results showed that only a few students had either seen some of the pictures before, or could associate the right picture with the right company. It was concluded that pictures seldom give rise to associations that are directly linked to the advertised product, service, company, or trademark, and the associations elicited can best be described as "disparate." Two tables summarize the data. (Contains nine references.) (MAS) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** U.S. DEPARTMENT OF EDUCATION Office of Educations! Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) O This document has been reprOduced as recerved from the person or organization originating it 0 Woof changes nave been made to improve reproduction quality Points of view or opinions stated in this document do not necessaiy represent offic.ai OERI position or pone, Associations from. Pictures

Abstract: Visual reasoning is an essential skill for an engineer to possess, particularly as computer-aided design tools become more prevalent. In this paper, we describe an innovative interactive multimedia application that provides a student with the tools to build a strong foundation in visual reasoning. The system, called the Visual Reasoning Tutor, exploits the missing view problem as a mechanism to develop the visual reasoning abilities of students. The Visual Reasoning Tutor provides a student with interactive, graphical operations to construct 3-D geometric objects, varying levels of intelligent critiques throughout the solution process, and a graphical user interface which supports multimedia capabilities aimed to enhance the learning process. This paper presents an overview of the system components, a complete sample exercise, and testing results of several prototypes that have been used in the classroom.

Abstract: Public art is not just sculpture and mural painting: it can take the form of stained–glass windows, textile wall–hangings, mosaic pavements and works of art that are not even designed to be long–lasting or permanent. It is found in city squares, and secluded countryside; in National Health Service hospitals and the national headquarters of major companies. Public art can now be studied at any level from primary to postgraduate, and because art and its context are so closely related in these settings beyond the gallery, it affords a particularly rich object of analysis for all age groups. What has so far received relatively little attention is the way in which public art is read. An examination of works of art from France and America reveals that visual literacy cannot be seen in isolation, for how we read depends as much on what we bring to our reading as it does on the text or image we seek to understand.

Abstract: Digital documents in the networked information environment fundamentally change the ways that visual materials can be used in education and scholarly discourse. These new uses raise questions about research library strategies with regard to digitized visual materials as a part of their collections, challenge assumptions underlying intellectual property rights for images and their scope, and offer ways in which visual literacy can become a more integral part of the common educational experience.

Abstract: This paper presents findings from an historical investigation of visual literacy, a unique aspect being that the approach relied on the marriage of two disciplines--geography and history--which study change over time. Maps and their interpretation of data by cartographers tend to provide a foundational context that can illuminate past and present and establish connections between them. In this case, using a variety of sources, researchers mapped historical aspects of visual literacy with a geographic information system (GIS). Discussion and figures explore: (1) a time line of seminal works in critical viewing, the psychology of art, and visual literacy; (2) the acquisition and organization of the correspondence of Dr. Henry Ray, an important figure in the field, by Kent State University (location of his correspondents indicates pockets of interest in visual literacy); (3) government funding for educational programs in visual literacy; (4) media preservation efforts; and (5) visual literacy education efforts in non-school settings like museums and libraries. By overlaying a map depicting one data source with a map depicting another data source, relationships between the two data sources become more apparent than if the two data sources were described solely in a written format. (Contains 25 references.) (AEF/BEW) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ******************************************************************************** A Cartographic Interpretation of Visual Literacy: An Historical Perspective by Cindy L. Kovalik and Kim Lambdin U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document has been reproduced as received from the person or organization originating it. Minor changes have been made to improve reproduction quality. ° Points of view or opinions stated in this document do not necessarily represent official OERI position or policy. Abstract This paper presents findings from an historical investigation of visual literacy. The unique aspect of this historical inquiry was that the approach relied on the marriage of two disciplines, geography and history, both of which involve the study of change over time. Maps, the interpretation of data by cartographers, tend to provide a foundational context that can illuminate and establish connections between the past and present world. Using a variety of sources, historical aspects of visual literacy have been mapped using a geographic information system (GIS). By overlaying a map depicting one data source with a map depicting another data source, relationships between the two data sources may become more apparent than if the two data sources were described solely in a written format.

Abstract: A program was developed and implemented for use with college freshmen at a community college in southeast Florida whose entrance examination scores fell below the acceptable range for admission into a regular English classroom. These students lacked an adequate background in basic English language skills, had an insufficient understanding of the writing process, and demonstrated meager self confidence in their writing ability. The goal of the program was to implement R workshop, using visual stimulus to encourage topic development, drafting, revision, and proofreading as part of the writing process. Objectives were for 80% of the 16 students to increase their scores (1) by 3 points on topic and paragraph coherency tests; (2) by 6 points on drafting and revision tests; (3) by 6 points on proofreading tests; and (4) to increase their writing scores by 2 points (as measured by a scoring rubric); and (5) to show a more positive attitude toward writing. The target group was required to participate in a visually enhanced writing workshop and to produce five completed papers in addition to the course requirements. Objectives 1, 2, and 5 were met with 80% of the target group demonstrating significant improvement; objective 3 resulted in 56% of the group showing improvement, while objective 4 effected a 62.5% increase. In all four English objectives, all students displayed substantial progress. (Contains 7 tables, 6 figures, and 27 references. Appendixes include an instructors' survey and results, review of scores from final papers of 20 students, a scoring rubric, a student attitude survey, a teacher-constructed handout of essay topic suggestions based on the visuals, and a teacher-made drawing.) (Author/NKA) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** UTILIZING VISUAL LITERACY TECHNIQUES IN A MODIFIED WRITING WORKSHOP

Abstract: Connecting visual and print literacies in the classroom can bridge distances in students' experiences, because all literacies are complementary and interdependent. This article discusses this rationale for connecting students' communication experiences in and out of classrooms to foster relevant literacies needed in contemporary society. Next it identifies common literacy principles, textual structures, and reader processes that print advertisements and content area texts. It then explains an analytic method called Deep Viewing, which consists of three levels--literal observation, interpretation and evaluation/application--that can be applied to both types of texts. The following code categories that guide viewers through interpretive and applied/evaluation levels of Deep Viewing are described: sequence and structure; semes and forms; language and discourse; proximity and spacing; culture and context; and effects and production. Twenty-two additional classroom activities to connect and extend students' literacies are offered. Finally, the benefits of connecting literacy principles, textual structures, and reader processes through the use of print advertisements and academic texts are discussed. These include: (1) students demonstrate high levels of motivation, interest, and social interaction; (2) following initial analysis, new critical insights are fostered during subsequent readings of academic texts; (3) student curiosity may be sparked, which can lead to self-initiated learning; and (4) students are assisted in forging cohesive understandings and developing sound literacy strategies for all modern media and communications environments. (Contains 24 references.)

Abstract: This study examined the design, aesthetics, and functionality of educational and noneducational Web pages from the perspective of visual literacy. Educational Web pages were subdivided into K-12 and college/university settings, and the non-education categories included commercial, publications and communications, informational and cultural, and personal Web pages. Research also evaluated print and online materials used by professionals and nonprofessionals to create these Web pages. These "how-to" manuals were evaluated for their discussions of: good screen design; the use of graphics and icons as communication; backgrounds; hypertext; linking; and overall understanding of publishing on the World Wide Web. Two evaluation instruments were developed. One contained 21 questions for evaluating online and printed resource materials; a second contained 57 questions that considered both aesthetics and functionality as embedded in the categories of design, graphics, text, and color. Initial data analysis indicated a wide range of quality among all the sites. Evaluation of printed and online materials indicated a strong agreement in the use of how to create in HTML language and the technical aspects of using specific image formats for World Wide Web publishing. School sites tended to use text rather than images to present information; sometimes overuse of backgrounds interfered with the overall message. In general, the noneducational sites reflected similar quality as the educational sites, with the exception of the professionally developed commercial sites which contained animations and sophisticated graphics. Those met the criteria for evaluation, but tended to target a narrow group of people; some of the Web pages were well-designed and met the needs of the general user. The amount of text or graphics used in informational home pages was related to the availability of design resources. (Contains 25 references.) (AEF) Visual Aesthetics and Functionality of Web Pages: Where is the Design?

Abstract: Challenges educators to consider the meaning-making potential of art. Explores how this was done in a middle school art classroom by examining the role of the teacher, students’ enculturation in art, art as process, and reflection in art. Notes the risks involved when students sometimes create visual meanings that are racist, homophobic, or sexist.

Abstract: Quality education is often impeded by lack of instructor time and by a failure to provide instruction that is individualized and at the point of need. Integration technology into course development can alleviate these problems, but only if the technology is easy to learn and supports a systems approach. In implementing a Web-based Technical Sketching course at Purdue University (Indiana), a systems approach was used to design, develop, and distribute the electronic course materials. The four-part systems model includes people, environment, processes, and technology. The first step is to identify the participants in the system; in this case, students and instructors are the receivers (customers) of the development effort. The environment consists of traditional sketching tools and access Web-enabled computers for the customers. Processes relative to the sketching course content include psychomotor, affective, and cognitive knowledge activities. Technology manifests itself in the form of Web-enabled computers, browser software, and printers for instructors and students. The course developer needs supporting electronic data files, HTML translation software, image mapping software, ftp software, and other specialty software. The combination of Microsoft NT or Windows 95 and the Web authoring aid FrontPage provides the technology components necessary to create and distribute Web-based instructional materials. The next step is for course developers to create and distribute customized learning environments that are visually rich and dynamic. A proposed "Just-In,:Time-Training" (JITT) system would involve an Internet component comprised of user information services, a private intranet for class-specific information like grades and personal data, and a development area where the project testing and experimentation would reside.

Abstract: Information technology will cause continuous rapid changes in our technological environment. The general impression is that the digital age will improve our lives and our society. Huge national strategies and programs are underpinned by this belief. They do not properly take into account the human dimension. The information society started principally when writing was invented, but the past technological inventions have not driven major changes in education. Challenges to the education of the future arise when the issues of cognition and human information processing are combined with the future technology. This offers an environment for rapid communication and search for information but especially the means to deepen thinking and understanding. This will set new objectives for education. Permanent skills such as learning to learn in changing environments are more important than rapidly deteriorating content. Visual literacy should be promoted in the future. The educational management must be flexible, react quickly and be able to anticipate change. A proper management information system is needed.