This article describes the process and outcomes of working with an undergraduate writing course as they created original scholarship for a digital map edition. Traditionally, library interventions in writing courses are limited to introducing students to library resources, developing better search terms, and research strategies. More recently librarians have incorporated primary source materials from special collections and archives into some classes as a way to engage student research. We worked with a faculty writing partner to introduce students to an archive but framed the experience through the lens of spatial thinking.
Students in non-arts disciplines generally are not taught to read and interpret visual images in the same way that those in the arts are taught. As a result, students in non-arts disciplines are often uncertain how to incorporate visual primary sources into their research. Using several of the frames outlined in the ACRL Framework for Information Literacy for Higher Education as an overarching structure, as well as the pedagogical model outlined in TeachArchives.org that focuses on active learning techniques, the authors outline their instructional techniques for teaching students to work with, and even interrogate, visual resources in a non-arts-based classroom.
This article presents one way that librarians, archivists, and educators can create new knowledge by connecting communities with rare material culture. The authors share how they engaged critically reflective practices while gathering descriptions of rare Mexican artists’ books at community-engaged outreach events. The books took on new meanings once they were removed from the context of the archives, and were centered within diverse communities.
The purpose of this quantitative, quasi-experimental, exploratory study was to create a metaliteracy course for online Ed.D. students and determine if there was a relationship between the Metacognitive Strategies for Library Research Skills Scale, Metaliteracy Pretest, and Metaliteracy Posttest.
Art, architecture, and design curriculum in higher education has evolved in many ways over the past decade. While many universities and colleges still ascribe to the Bauhaus model as a core approach to instruction, shifts in technology, modes of making, global perspectives, and the professional landscape have required responsiveness on the part of these institutions. Today’s art, architecture, and design learners need to be equipped to navigate, evaluate, and ethically use vast quantities and varieties of information in their practices. As a result of these evolutions and the influence of the ACRL Framework for Information Literacy for Higher Education, library pedagogy for these disciplines has accordingly shifted away from traditional bibliographic instruction and towards information literacy-based approaches.
This innovative teaching idea, the Digital Image Guide (DIG) Method, addresses the pressing need to develop visual pedagogies in the university classroom by providing a technique for students to use to critically read digital images. This article also introduces the concept of shallow and deep images. It then explains the difference between the two types of images and how to use the DIG Method to dig deeper in order to understand deep images. By utilizing the DIG Method, students can learn to analyze, interpret, evaluate and comprehend images found on social media sites and around the web, increasing their visual literacy skills in the process.
Social networks and collaboration make it possible to offer new metacognitive horizons for comprehension of theories in a group of students considered digitally native. This study discusses the applicability of different forms of visualisation used as a constructivist learning technique on social networks.
Contemporary society is dominated by visual communication, yet visual literacy is a learned skill that requires training. Gender issues, particularly the subjects of gender diversity and power struggles, are deeply pertinent to today’s visual culture. The critical consumption of information has long been taught in libraries, though instruction has typically prioritized text-based sources. However, visual literacy instruction has the capacity to provoke critical inquiry into issues of gender, race, social class, and ethnicity. As institutions that promote social justice, libraries can help improve diversity and inclusion in their communities through teaching visual literacy skills at all levels. Critical visual literacy instruction can also help academic libraries advance student scholarship, which can only be achieved if they are literate in all forms of knowledge production.
The multi-disciplinarity of visual literacy has become even more pronounced in an age of digital information. What shared questions do we ask in our research, where does our work intersect and how do those intersections define the field of visual literacy? Through an analysis of the articles published in the Journal of Visual Literacy from its inception in 1981 through 2017, this article aims to identify the research topics and questions that tie together the diverse disciplines in which visual literacy research takes place and to suggest areas for future research. Mapping the questions that drive our research can help us better define the field, better articulate the value of our scholarship and better share our work with those in the communities in which we teach and practice.
Today’s consumers also termed as the “Eye Generation” consume lots of visual data through the net, mobile phones, advertisement, mobile applications and many others. This is because the visuals are considered as a more accessible means of obtaining and communicating messages.
In the information age, the ability to read and construct data visualizations becomes as important as the ability to read and write text. However, while standard definitions and theoretical frameworks to teach and assess textual, mathematical, and visual literacy exist, current data visualization literacy (DVL) definitions and frameworks are not comprehensive enough to guide the design of DVL teaching and assessment. This paper introduces a data visualization literacy framework (DVL-FW) that was specifically developed to define, teach, and assess DVL.
In this paper, we discuss possible pedagogical applications for virtual and augmented reality (VR and AR), within a humanities/social sciences curriculum, articulating a critical need for academic libraries to collect and curate 3D objects. We contend that building infrastructure is critical to keep pace with innovative pedagogies and scholarship. We offer theoretical avenues for libraries to build a repository 3D object files to be used in VR and AR tools and sketch some anticipated challenges. To build an infrastructure to support VR/AR collections, we have collaborated with College of Liberal Arts to pilot a program in which Libraries and CLA faculty work together to bring VR/AR into liberal arts curricula.
This research paper describes the application of a didactic innovation project in Higher Education. We present the theoretical foundation of the project. Thanks to the evolution of the Web and the potential of image to disseminate and generate knowledge, visual materials have had an increasingly powerful projection in Education, especially for the development of new methods, media and didactic materials in Higher Education. As a result of researchers interested in it, Visual Literacy has emerged as an academic field developing research and didactic effectiveness of the image, and digital competences and academic literacy as instruments to be integrated into curriculum of higher education for its excellence. We analyse the didactic innovation project by presenting how we integrated a Visual and Academic Literacy competence-based program into a course at the Carlos III University of Madrid.
In recent times, the declaration of the prominence of the visual over other channels of communication has been persistent across several disciplines, including film studies, design, sociology, and literacy education (e.g. Bolter, 1991; Fransecky & Debes, 1972; Kress, 2005; Sartori, 1998; Messaris, 2012). It is within this loom of visuality that the concept visual literacy has been woven together throughout the twentieth century and beyond. This dissertation explores the mobilization of this concept through the last century and addresses the implications of its interdisciplinary and polysemic nature. By tracing the evolution of this term, as well as some of its correlates in English, I map the concept of “the visual as a literacy.”
This literature review traces recent scholarship on a particular form of communication that uses images for persuasive purposes: visual rhetoric. Disciplines within the purview of this literature review include writing studies, speech, communication, education, and marketing as well as, to a limited degree, anthropology, information science, art history, architecture, and design. The chapter will discuss three main theoretical constructs which ground scholarship in this field: rhetoric, iconology, and semiotics.
While much has been written about visual literacy and multimodal teaching, almost nothing has been published on preparing instructors and graduate teaching assistants to provide students with the mechanics of visual design, rhetoric, and cultural criticism to help them build complex, multimodal projects that go beyond visual inclusion and critique. This chapter focuses on a graduate course on visual literacy, rhetoric, and design that was taught by one of the authors and taken by the other four.
This column explores the ways in which the new generation of librarians can position themselves at the front lines of the misinformation and “fake news” crisis by incorporating visual literacy and news literacy into information literacy lessons.
This work-in-progress seeks to benchmark the visual literacy skills of undergraduate mechanical engineering students at a small technical university, as well as the faculty’s current efforts to develop students’ visual literacy skills. Visual literacy is accepted as a crucial 21st century for students, professionals, and citizens, yet its definition varies greatly across the literature. In addition, existing assessment tools are too general and are insufficient for measuring visual literacy as it applies to engineering design. Our work seeks to establish a simplified method for assessing the visual literacy skills of graduating seniors in a mechanical engineering program.
The effectiveness of using video content for teaching and learning has mixed reviews, but some potential positive outcomes include students improving their creativity, experiencing higher levels of interaction, increasing self-efficacy, and engaging in meaningful reflection. This exploratory study examined how higher education instructors in philanthropic and nonprofit studies programs in the United States use video in their courses
Despite the growing recognition that second language (L2) listening is a skill incorporating the ability to process visual information along with the auditory stimulus, standardized L2 listening assessments have been predominantly operationalizing this language skill as visual-free (Buck, 2001; Kang, Gutierrez Arvizu, Chaipuapae, & Lesnov, 2016). This study has attempted to clarify the nature of the L2 academic listening assessment construct regarding the role of visual information.