The tenet of this article is that historic scientific works, along with science-themed artists’ books, photobooks, and U.S. government-produced reports, can contribute to contemporary science education in inspiring ways. By integrating these materials into undergraduate science-writing projects, we are pioneering an alternative paradigm that merges the sciences and the arts. We are teaching undergraduate science majors through content that invokes scientific curiosity, sparks creativity, and makes science accessible.
This paper presents a brief overview of infographics, together with study which was originated to discover what motivates people to design infographics and what are the components of the creative process. Section 2 provides a literature overview. Section 3 outlines the methodology of experiment. Section 4 presents obtained results. Section 5 presents conclusions and future directions in studies of processes in designing infographics, outlines the important problem for further research.
The aim of the quantitative study is to identify the digital literacy levels of prospective teachers in terms of several variables. The sample consisted of 354 prospective teachers studying in different departments of Sakarya University College of Education. The 30-item instrument used to gather the data was the “Digital Literacy Scale” developed and used by the researchers. The scale was composed of 5 different factors namely information literacy, visual literacy, software literacy, technology literacy and computer literacy.
The visual dominates our visual culture and has become an essential tool for universal communication. The information landscape is embedded in contemporary culture through the internet and social media; wi-fi and remote access to library resources enable immediate access to information. The visual has become an essential resource and source to share. Image cross boundaries and non-verbally illustrate information – a global language that unifies all cultures. Therefore, when communicating human rights issues, images narrate the past and present. How do our brains process these visual resources, and what influence does this neurological process have on interpreting visual images of culture or human rights?
This chapter examines how new visual literacies allow students to create meaning and develop competencies needed for the 21st century. Today’s generation is continually exposed to visual and digital media. Through empirical work, this chapter highlights how emerging visual technologies such as big data, infographics, digital badges, electronic portfolios (ePortfolios), visual social media, and augmented reality are facilitating the development of technology-related skills required for students in academics and in the workforce. Each visual technology platform will be examined for their usefulness in promoting engagement, subject-matter knowledge, and collaborative learning outside the traditional classroom approach.
The term ‘metaliteracy’ is still a relatively new concept since being introduced into the library and information science literature as a ‘framework that integrates emerging technologies and unifies multiple literacy types’ (Jacobsen and Mackey, 2011, 62). It is therefore still a fairly recent addition to the parlance surrounding library instruction and teaching and learning practice, which this chapter will attempt to expand on.
How do artists, designers, architects and craftspeople seek and deploy information in support of their practice? It is a question that is of central importance to the learning and teaching that art libraries provide, yet one that has also been subject to much debate within the historical and contemporary literature. An attentive reading of this literature reveals three fundamental metanarratives, each underpinned by a particular epistemology, and it is these narratives that have then informed how institutions construct, embed and assess the teaching of information skills to their readers.
This paper aims to present recently published resources on information literacy and library instruction providing an introductory overview and a selected annotated bibliography of publications covering all library types.
Teaching and learning visual literacy within art and design librarianship presents several unique challenges. Librarians are better equipped than ever to meet these challenges with the help of ACRL Visual Literacy Competency Standards and the ACRL Framework for Information Literacy in Higher Education, which provides an exciting opportunity to situate visual literacy within the contextual definition of information literacy for art and design students. In mapping these two documents together the author found several ways to address the more critical components of information and visual literacy in more nuanced and meaningful ways. While art librarians have often addressed visual literacy needs to varying degrees and in creative and practical ways, a more systematic approach is needed as we move forward.
Visual literacy, the ability to interpret, analyse and create visual material, is an increasingly crucial skill for today’s graduates. However, this importance has not yet led to its teaching being widely introduced into the third-level curriculum. This study uses a constructivist and social constructivist approach to introduce a visual literacy element to a business curriculum.
How can librarians teach information literacy in such a politicized atmosphere? In spring 2017, the library at Fresno State held a series of workshops that introduced first-year students to information literacy in a “gamification” setting, an escape room, to encourage community learning.
An activity involving analysis of art in biology courses was designed with the goals of piquing undergraduates’ curiosity, broadening the ways in which college students meaningfully engage with course content and concepts, and developing aspects of students’ higher-level thinking skills, such as analysis, synthesis, and evaluation. To meet these learning outcomes, the activity had three key components: preparatory readings, firsthand visual analysis of art during a visit to an art museum, and communication of the analysis.
The authors consider an approach to visual literacy instruction that is rooted in the philosophies and practices of critical librarianship and feminist pedagogy. They explore the extent and limitations of existing standards, frameworks, and pedagogical models to support an idea of critical visual literacy, particularly in the context of art and design schools and creative career-focused institutions. By examining practices and examples from other disciplines, the authors identify strategies for teaching critical visual literacy in context. These pedagogical models inform the design and revision of two workshops for art and design students.
The origins and history of Visual literacy (VL) are summarized in this article, from the 1960s writings of John L. Debes, Marshall McLuhan and others of the Rochester School, to the influence of the Internet in the 2000s. ERIC and Google Scholar searches are used to analyse the evolution of its literature over time.
This article discusses the potential and challenges of teaching a second‐semester German class with Simon Schwartz’s graphic novel drüben! (2009) alongside a traditional textbook. While the class explored linguistic, literary, and cultural‐historical aspects of drüben!, a GDR‐themed family memoir, the focus here is on those pedagogical interventions which dealt with the training of visual literacy.
For generations, and perhaps since the inception of the motion picture industry, teachers of history have recognized the utility of incorporating Hollywood, or commercial, film productions into their classrooms as a visual stimulus.
The purpose of this exploratory, sequential, mixed methods design research was to explore current design trends and patterns in mobile application icons by analyzing existing icon elements and principles of design.
The twenty-first century hosts a well-established global economy, where leaders are required to have increasingly complex skills that include creativity, innovation, vision, relatability, critical thinking and well-honed communications methods. The experience gained by learning to be visually literate includes the ability to see, observe, analyze, describe and interpret-leading to honing critical thinking skills, visual communications, problem-solving and the ability to articulate your thoughts both verbally and visually. This qualitative research explores the potential benefits to leaders in being visually literate.
In this technologically advanced environment, users have become highly visual, with television, videos, web sites and images dominating the learning environment. These new forms of searching and learning are changing the perspective of what it means to be literate. Literacy can no longer solely rely on text-based materials, but should also incorporate digital images and sounds. Higher education seems to be lagging behind with incorporating visual literacy into their academic programs. This paper explores visual literacy, the digital native, and the importance of integrating visual literacy into our learning curriculum, especially in instructional design programs.
All branches of anatomy (gross anatomy, histology, neuroanatomy, and embryology) involve significant amounts of visual identification. Understanding the spatial relationship and visual representations of anatomical structures forms the basis for much of anatomy education, particularly in laboratory courses. Students in these courses frequently struggle with the visual aspects of identification, and many lack the metacognitive awareness to identify this problem. The research presented here details a series of experiments designed to elucidate the factors involved in students’ difficulties with studying the visual aspects of anatomy.