Abstract: Introduction. S. Moriarty, G. Barbatsis, From an Oak to a Stand of Aspen: Visual Communication Theory Mapped as Rhizome Analysis. Part I: Aesthetics. D. Dake, Aesthetics Theory. D. Dake, Creative Visualization. Part II: Perception. A.M. Barry, Perception Theory. S. Josephson, Eye Tracking Methodology and the Internet. K. Smith, Perception and the Newspaper Page: A Critical Analysis. Part III: Representation. K. Kenney, Representation Theory. S. Moriarty, L. Rohe, Cultural Palettes in Print Advertising: Formative Research Design Method. K. Smith, C. Price, Content Analysis of Representation: Photographic Coverage of Blacks by Nondaily Newspapers. Part IV: Visual Rhetoric. S.K. Foss, Theory of Visual Rhetoric. K. Kenney, A Visual Rhetorical Study of a Virtual University's Promotional Efforts. S. Kaplan, Visual Metaphors in Print Advertising for Fashion Products. T. Goodnow, Empowerment Through Shifting Agents: The Rhetoric of the Clothesline Project. Part V: Cognition. R. Williams, Cognition Theory. G. Comuntzis Page, Children's Comprehension of Visual Images in Television. Part VI: Semiotics. S. Moriarty, Visual Semiotics Theory. S. Moriarty, S. Sayre, An Intended-Perceived Study Using Visual Semiotics. D. Dunleavy, The Image and the Archive: A Semiotic Approach. Part VII: Reception Theory. G. Barbatsis, Reception Theory. G. Barbatsis, A Textual Analysis of Political Television Ads. M. Brown, Phenomenology and Historical Research. Part VIII: Narrative. G. Barbatsis, Narrative Theory. T. Goodnow, Using Narrative Theory to Understand the Power of News Photographs. Part IX: Media Aesthetics. H. Zettl, Aesthetics Theory. R. Tiemens, A Content Analysis of Political Speeches on Television. C. Denton, Examining Documentary Photography Using the Creative Method. Part X: Ethics. J.H. Newton, Visual Ethics Theory. S. Reaves, A Survey of Reactions to Photographic Manipulation. J.H. Newton, Studying Visual Ethics by Applying a Typology of Visual Behavior. Part XI: Visual Literacy. P. Messaris, S. Moriarty, Visual Literacy Theory. L. Burch, Media Literacy, Aesthetics, and Culture. Part XII: Cultural Studies. V. O'Donnell, Cultural Studies Theory. J.C. Harry, A Burkean Analysis of a Television Promotional Advertisement. V. O'Donnell, A Cultural Analysis of the Unisys "Monitor Head" Television Commercial. G. Davey, A Historical Approach to Understanding Documentary Photographs: Dialogue, Interpretation, and Method.

Abstract: In some contexts, a photograph may be worth a thousand words Previous research revealed a dialectical character of photographs: they simultaneously lack determinacy and exhibit an excess of meaning The purpose of this study was to understand how, under this condition, high school students interpret photographs that were accompanied by different amounts and types of cotext (caption, main text) The data for this study consists of video-recorded interviews with twelve Brazilian high school students What students perceived was in part a function of the presence of caption and main text; these texts not only described what could be seen but also taught students how to look at photographs We conclude that high school students not only need to develop subject matter literacy but also a literacy concerning photographs to fully understand their textbooks © 2004 Wiley Periodicals, Inc Sci Ed, 89:219–241, 2005

Abstract: This article presents one portrayal of the role of photography as a language of teacher inquiry. To inform teachers' use of photography, the first part of the article presents a brief historical perspective of photography's role in the study of human behavior in the fields of visual anthropology, visual sociology, photojournalism, and media literacy. The second part of the article includes three functional applications of photography in teacher inquiry: representational, mediational, and epistemological. The three functions are defined, and classroom examples and in-depth analyses of these functions are provided to illustrate how photography promotes inquiry-based classroom practices. These analyses include discussions of teachers' intentional focus or mental lens, the importance of collective contexts of teacher study, the metacognitive processes of teacher inquiry, and the appropriation of skills in teacher inquiry. Each example demonstrates a progressively deeper analysis of how photography can be used by educators to move the field of education toward visual literacy. The examples are taken from preschool and early elementary-school classrooms, although the applications may be extended to the broader field of education.

Abstract: A survey of BizCom listserv subscribers suggests that visual rhetoric receives relatively little attention within business communication curricula. Results indicate that programs typically do not require a course in visual rhetoric, and on average, 20% or less of teaching in undergraduate courses is dedicated to visual communication. The findings suggest that business communication curricula may not adequately prepare students for the multimodal communication tasks they are likely to encounter in the workplace, particularly those tasks that rely on knowledge of visual rhetoric. Possible solutions include adding courses, integrating visual communication more deeply into existing courses, contextualizing existing design projects to ensure they are more than software exercises, and incorporating visual communication into other typical course projects.

Abstract: The inclusion of visual images in current educational literacy discussions tends to contextualise them within more semiotic, socio-critical and textually focussed theoretical traditions. These particular traditions privilege and emphasise the structures and "language-like" aspects of visual images, and include the broader social and cultural structural frames, such as gender and class, as well as the specific codes and "grammars" of individual images. While there are strong benefits in employing these approaches, the nature of visual images themselves may require a broader, interdisciplinary approach. This paper will include discussion of the field of visual culture in general, the unique nature of images, the role of philosophy in regard to image, the inclusion of the individual's hermeneutic role in meaning-making, and the attendant educational implications when applying such work to contemporary educational literacy practice.

Abstract: At the same time as the postmodern call to reexamine traditional notions of scholarship blazed new paths through many disciplines, art museum education was a field in transition. From the 1970s through the mid 1990s, die writings of art museum educators revealed changing and contested beliefs regarding their pedagogical purposes. This study focuses on how art museum educators wrote and rewrote theory and practice regarding the role of the museum visitor in meaning making. Theorists of visual literacy, museum literacy, and interactivity will serve as the guides to this intertextual historical examination.

Abstract: This article discusses a study that explored first-grade students' responses to and interpretations of eight picture books with metafictive devices. The article focuses on children's visual and written responses to the picture books and describes the relationship between the students' visual and verbal texts with respect to storytelling. The two main categories in a categorization scheme that describes text-image relationships in picture books—parallel storytelling and interdependent storytelling—were adapted to analyze the students' visual and written responses. Analysis of data revealed that for seven of the eight picture books, at least one-half of the children's visual and verbal texts were categorized as interdependent storytelling. Thus, to a certain extent, the children's images and text emulated the interdependent storytelling nature of the picture books used in the study. The article concludes with discussions about the value of viewing children's work as miniature ecosystems and the importance of developing children's visual literacy skills. Text-Image Relationships Multimodal representation systems permeate our contemporary world. Although images pervade our everyday world of communication, Graham (1990) writes: “visual representations are believed to have been part of human society for almost five thousand years” (p. 7). Many scholars have written about visual representations in children's literature (Doonan, 1993; Graham, 1990; Lewis, 2001; Nikolajeva & Scott, 2000, 2001; Nodelman, 1988; Sipe, 1998; Styles & Arizpe, 2001). Indeed, several schemes have been proposed to describe the perceived interaction of pictures and words in picture books. Agosto (1999) differentiates between parallel storytelling, where the text and illustrations simultaneously tell the same story in a picture storybook, and interdependent storytelling, where “both forms of media [must be considered] concurrently in order to comprehend” the book's story (p. 267). Golden (1990) describes five different types of visual-verbal relationships in picture storybooks: “text and picture are symmetrical; text depends on picture for clarification; illustration enhances, elaborates text; text carries primary narrative, illustration is selective; and illustration carries primary narrative, text is selective” (p. 104). Congruency, elaboration, specification, amplification, extension, complementation, alternation, deviation, and counterpoint are terms used by Schwarcz (1982) to explain the interaction of text and pictures. Doonan (1993) uses some of the same vocabulary as Schwarcz in her description of the possible relationships between the visual and verbal texts in picture books: elaborate, amplify, extend, complement, contradict, and deviate (p. 18). Nikolajeva and Scott (2001), who criticize many of the existing typologies that describe the relationships between words and pictures, use some of the same terms as Schwarcz and Doonan in their spectrum that describes the word-picture dynamic in texts: symmetrical, enhancing, complementary, counterpointing, and contradictory. Other individuals use a single term/concept when discussing the interaction of illustrations and text in picture books. For example, Sipe (1998) embraces the word “synergy” to describe the text-picture relationship in picture books. Mitchell (1994) uses the term “imagetext” (p. 9) to avoid the use of a binary theory that looks at the relation of pictures and discourse and describes imagetexts as “composite synthetic works (or concepts) that combine image and text” (p. 89). Thus, according to Mitchell's definition, picture books are imagetexts. Lewis (2001) critiques many of the aforementioned categorization schemes and suggests an alternative way of looking at picture books. He discusses the ecology of the picture book, where pictures and words “interact ecologically, [so] that the book acts as a miniature ecosystem” (p. 48). To Lewis, an ecological perspective emphasizes “the interdependence or interanimation of word and image” (p. 48) in picture books. In many contemporary picture books, the relationship between image and text has become even more sophisticated and complex. Children Reading and Creating Visual Texts Scholars agree that reading pictures is indeed a multifaceted act. Further, children often look at illustrations more closely and “see” details in pictures (Kiefer, 1995) that are missed by “skipping and scanning” adults (Meek, 1988, p. 19). Several individuals have explored how children read images in text (Arizpe & Styles, 2003; Kiefer, 1995; Styles & Arizpe, 2001; Walsh, 2003). For example, Arizpe and Styles (2003) used three multilayered picture books to investigate how children ages 4-11 read visual texts. The researchers found that the children, who participated in individual and group interviews about the literature, were sophisticated readers of visual texts. The children “read colours, borders, body language, framing devices, covers, endpapers, visual metaphors and visual jokes” (p. 224). Walsh (2003) also examined children's reading of visual texts and found that the images in picture books evoked a variety of responses in the young children participating in her research. Kiefer's (1995) work also revealed how the illustrations in picture books influenced children's oral, written, visual, and representative responses. She used Halliday's (1969) work on functions of language to assist her in developing a taxonomy that described the children's verbal responses to various picture books. Kiefer's taxonomy also reflected the developmental differences she observed and recorded in the children's responses (p. 25). Reading picture books to children is a common pedagogical practice in many primary classrooms. Often, children are asked to create visual texts after picture book read-aloud sessions. In the study conducted by Arizpe and Styles (2003), the participants drew pictures in response to the three selections of children's literature. The researchers examined the literal understanding, overall effect, and internal structure of the children's drawings, and concluded that the children's drawings demonstrated “that even the youngest children can interpret, comprehend and communicate the visual—far beyond what they might be assumed to know” (p. 138). Arizpe and Styles believe that the children developed “deeper understanding[s] through their visual explorations” (p. 138). Like Arizpe and Styles, and other researchers, I am interested in children's visual responses to literature, and how adults, especially teachers, “read” the pictures created by children. Do adults skip and scan as they look at the children's visual texts? Do teachers privilege students' written text over their visual text, therefore creating a binary opposition? Or do teachers consider the ecology of the children's work? One of the purposes of this article is to encourage adults to recognize and respect the interanimation of image and word (Lewis, 2001) in children's work. The student work described in this article was collected during a study that explored young children's responses to and interpretations of eight picture books with metafictive devices (Pantaleo, 2004, 2005). The article focuses on the first-grade children's visual and written responses to the picture books and describes the relationship between the students' visual and verbal texts with respect to storytelling. The article discusses the value of viewing children's work as miniature ecosystems (Lewis, 2001) and the importance of developing children's visual literacy skills.

Abstract: Children's media/visual literacy has gained increasing importance in the field of education. Media educators (Considine & Haley, 1999; Couch, 1995; Kellner, 1988) advocate the needfor children to acquire medial visual literacyto survive in the world of global consumerism, especially the influence of media advertising. In contemporary life, it not surprising that the issues people talk about, the things they use, or the lifestyles they choose, are greatly influenced by what they see on television, the Internet, commercial billboards, and newspapers and magazines.

Abstract: I N T R O D U C T I O N The Untitled Project1 is a result of my search for a way to explore issues of power and control between large groups of people by focusing on the hegemony of mass communication in the public space. The initial concept was naively simplistic and faulty but its execution opened a continually expanding range of ideas. My initial motivation for removing text from public spaces was to free the modern citizen from the onslaught of language that is ubiquitous in our environment. I felt this to be a noble cause until I finished editing my first piece in Photoshop and immediately became aware of the errors in my initial concept. Despite the lack of text, I was still able to interpret most messages through visual rather than literate forms of communication, resulting in little to no loss of power of this voice I was attempting to silence. The result of this revelation was the reintroduction of the text as a two-dimensional map of approximate location, font, orientation and size relationships, turning the project into a study through deconstruction rather than an attempted liberation. My increasing awareness of the level of visual communication in contemporary culture brings me to posit my overriding thesis for this project in that the sophistication of the visual vocabulary of the general populace is reaching levels where, in most cases, text is either unnecessary or secondary to the comprehension of the voices present in our public space. In order to better understand the nature of this vocabulary, I have categorized the sources of these voices into five major categories: corporate/commercial, municipal, propaganda, news/mass media and subversive. Although many of the voices present in my photographs can be associated with more than one of these categories, I use them as a general framework for examining the manifestations of visual communication through color, graphic design, photography and architecture.

Abstract: This chapter draws on recent research on genre literacy to investigate aspects of British children’s school writing, as revealed in the texts produced by children at different age levels and sociocultural groups. Specifically, this chapter explores the way developing writers’ prior knowledge shapes their learning about how to produce written texts in school and become confident writers. The discussion singles out different constituents of the notion of prior knowledge; this is conceptualized in terms of both sociocultural conventions for organizing meanings (or formal schemata) and register choices, as well as knowledge of visual design and text layout. The discussion builds upon the premise that detailed textual analysis of written texts can reveal important information on the types of prior knowledge with which children approach genre writing in the school context, and illustrates some of the difficulties children face in the production of genres which constitute advanced school literacy tasks. Evidence is discussed of how some children use the semiotic meaning-making resources from their out-of-school literacy experiences in ways that can be effective (or ineffective) according to school standards. Furthermore, the discussion takes into account the extent to which this prior knowledge is acknowledged in the British school context, especially in its examination and assessment processes. Finally, the chapter highlights the role curriculum requirements and pedagogical practices play in establishing school writing as little more than sociocultural reproduction of culturally valued genres.

Abstract: Purpose – This paper was written to help the lay reader understand how learning to look at art can be helpful in learning to evaluate business decisions. The lessons of sorting out the best from the very good in art are directly applicable to decisions in everything from product design to evaluating goods that are designed, manufactured, displayed, or sold.Design/methodology/approach – The approach to honing a “quality instinct” involves developing visual literacy – learning to look at art – and moving on to learning to discern differences in the quality of art objects.Findings – Consumers are growing more visually sophisticated, and it behooves business leaders to be one step ahead of their competitors and their target markets. Visual literacy is achieved through a combination of study and practice. Seeing past the different ways artists tackle the same subject to discover both their intention and your reaction can train you to look at mass‐manufactured goods with a discerning eye.Value – Visual communic...

Abstract: THE USE OF IMAGES IS BECOMING more pervasive in modern culture, and schools must adapt their curricula and instructional practices accordingly. Visual literacy is becoming more important from a curricular standpoint as society relies to a greater degree on images and visual communication strategies. Thus, in order for students to be marketable in modern society, they must acquire visual literacy skills (Roblyer and Edwards 2000). Looking from all instructional standpoint, multimedia formats capture children's interest and are more easily understood, allowing the learner to focus on higher-level processes such as identifying problem-solving steps (Cooper 2003). One strategy to increase visual literacy is for teachers and students to use digital cameras, which are becoming cheaper, easier to use and more commonplace in K-12 schools. Many schools have effectively used classroom sets of laptop computers, but there are only a few successful models for using a set of digital cameras. Fortunately, the College of Education at Arizona State University's West Campus (ASU West) has successfully implemented a digital camera cart. Our two-year undergraduate teacher training program enrolls about 300 students a semester, with a total undergraduate enrollment in the college of more than 1,000. Throughout the 2003-2004 school year, our camera cart has been used on about 50 occasions by 16 different teachers. In the first semester of our program, all students in the program used the cameras in a variety of ways, as will be described later. During the course of the last school year, an estimated 750 different students used these cameras. Course COE 313 (Educational Technology in the K-12 Curriculum) is required of all students in their first semester of our teacher preparation program. The focus of this course is not technical skills, but rather the effective integration of technology into K-12 curriculum. Many of our students have digital cameras of their own, but few have given any thought about how they would use them in their classrooms. Integration Examples We model many uses of digital cameras in our COE 313 course, and these examples fall into several categories. First, we model uses that promote teacher productivity. For instance, on the first day of each class, I take digital photos of all my students then combine their photos and contact information into one Word document, which I print and place in my course binder. This helps me learn student names and gives me handy access to their contact information. An additional productivity use 1 model is to take photos of the whiteboard. Sometimes, a lecture or student activity leads to a whiteboard full of interesting notes or data. So, instead of copying this information down, which can be time consuming, I often take a digital picture of the board to archive the session. The course also models ways teachers can use digital cameras instructionally. For example, we show students how easy it is to import digital pictures into Word or PowerPoint documents. We also show students how they can build and organize collections of digital images for their own use or for the use of their students. Many other examples of teacher use are demonstrated throughout the course, including utilizing cameras to document the steps of a procedure (e.g., carving a pumpkin) or creating a photo journal of a field trip. Student Use of Digital Cameras Once students have successfully imported digital images into their work, we take their digital skills to another level by requiring them to edit digital photos and combine them into one image (see example below). We pair up the students, distribute one camera to each pair, and send them outside to take photos. When they return with a disk full of pictures, we show them how to use programs such as Photoshop to combine their images, or the images they have downloaded from the Internet, into creative images. …

Abstract: Aquarium views, or AqViews, offer a glimpse into a split-phase aquatic system that is not normally afforded to terrestrial viewers. Although geologist Henry De la Beche created the AqView prototype two decades before the advent of the aquarium, this graphic type did not become popular until after the Victorian aquarium craze. We investigate the historical development and construct a comprehensive typology of AqViews that can be used by science teachers. We identify variations on the AqView, as well as a broader category encompassing non-aquatic systems, the PhaseView. Our research indicates that horizontal, cross-sectional representation of underwater scenes now appears to be the default position for some textbook authors, artists, and students. In spite of this, we believe AqViews are currently untapped resources for learning in science classrooms, and offer potential for enhancing science instruction, assessment, and visual literacy.

Abstract: With the imperative for teachers in both primary and secondary schools to teach visual literacy as part of the English curriculum, the buzz around multiliteracies Australia-wide, and English curricula in all states and territories now including a wide range of texts, I find teachers seeking a starting point for teaching about media. Visual literacy is a concept that most primary teachers are comfortable with, but it is only a first step to becoming media literate.

Abstract: This is an ethnographic study of the literacy practices of a group of rural Northeastern Thai women participating in a community-based literacy programme. Field research for the study examined the women's literacy practices and domains of literacy use in daily life, and the strategies they used to negotiate day-to-day life tasks in the context of change and development in their local community. Findings show that the women effectively negotiated life tasks associated with literacy in development by employing individual literacy skills, collaborative literacy practices within family and community networks, and a mix of new technologies and traditional oral and visual communication systems. The author argues that collaboration and the ability to draw on and work within social networks might be considered a form of social capital for development, and collaborative and visual literacy practices forms of new basic skills.

Abstract: The study ‘New Media in the Humanities: from metaphors of inevitability to metaphors of possibility,’ argues that using digital technologies in humanities classrooms (at the post-secondary level) is transformative for both students and professors. It begins by identifying and then allaying the fears that scholars in the humanities harbour: the computer reduces literacy, diminishes knowledge to mere information, annihilates the metaphysical in the academy, and disconnects the student from his/her humanity. The second section of the article outlines in detail the exciting possibilities of engaging electronic media in the classroom, which include moving beyond a single literacy to multiple ones (post-/polyliteracy), recognizing digital technologies as potential cognitive systems parallel to our own (post-humanity), evolving from notions of a single subjectivity to global interconnectedness (post-identity/ post-nation), transcending one's chosen discipline in order to discover new interdisciplines via the Web...

Abstract: This study explores the usefulness of an online platform for capturing field experiences of inservice teachers enrolled in a graduate level literacy course. Four lessons related to the online field experience are offered: (1) instructors cannot adequately assess teachers without visual examples; (2) teachers and instructors need detailed guidelines on how and when to provide effective feedback; (3) teachers naturally make connections between theory and practice; and (4) teachers and instructors may feel overwhelmed with the complexities associated with the course.

Abstract: Like architecture, engineering, and other broad disciplines, information design has practical and theoretical elements. To a large extent, research in information design consists of applied research. Critically selected results from other research areas may often be used as a starting point for the development of new theories. It may be concluded that the study of information design and the presentation ofverbo-visual messages is a multi-disciplinary, multi-dimensional, and worldwide consideration. Information literacy, visual language, visual literacy, perception, and learning are important concepts here. Several different research methods are used in information design research.

Abstract: Current approaches to literacy acknowledge the importance of social purpose in text construction and to enable an informed approach to written texts, teachers make use of a scope and sequence of grammatical terms that allow us to 'talk out a text'. The rationale behind working towards a visual grammar for talking out texts has never been to create a prescriptive, traditional grammar but the aim has been to create a Meta language that can be shared.

Abstract: This exploratory study examined children's Web pages created in a visual literacy program called the Internet Camp. Because there is little evaluative research regarding the effects of visual literacy programs, this study was conducted as a small step toward filling a gap in the literature. The study provides a history of visual literacy programs, background on the children who participated in the camp program, and an analysis of the children's Web pages. Initially it was thought that the children's underprivileged status might affect their Web page design. An aesthetic analysis found no profound influence of their social status on their Web pages. An overall primitivistic, yet sophisticated, style was evident in their Web page designs.

Abstract: The design of visual elements such as illustrations, graphics, and photos is a task facing many technical communicators. Practical understanding of the principles of design is necessary for quality print design products with visual elements, but even this may not be adequate for producing illustrations that users can quickly understand in a visual manner. Pairing the principles of print and textbook design with knowledge of visual communication theory aid technical communicators as they develop illustrations that are not only well-designed visually, but easy for audiences to understand. This paper reports the emerging results of a study to determine how well technical communication textbooks support visual learning by the quality and purpose of visual elements. Basic applications of visual communication theory are also interpreted to provide a knowledge base upon which successful print and visual documents can be built.

Abstract: ii Chapter 1: Introduction 1 1.1 Background to the study 1 1.2 Description of the study 2 1.3 The significance of the research in the project 3 1.4 The importance of visual literacy for learning 3 1.5 The motivation of the researcher 4 1.6 Defining the problem 5 1.8 Identifying the problems 8 1.9 Purpose of the study 9 1.10 The research question 9 1.11 Research methods 10 1.12 Limitations 11 1.13 Structure of the thesis 11 Chapter 2: Literature Review 12 2.

Abstract: The importance of visual literacy for legal research has increased exponentially in the electronic environment. After explaining visual literacy principles and their relationship to Web design, Professor Falkow uses them to evaluate the construction of several popular legal Web sites. She also recommends practical approaches to cope with Web site design flaws.