Cruising into the Future: Readings from the 16th Annual Conference of the International Visual Literacy Association by Nina Thayer and…
Visual Literacy: Enhancing Human Potential: Readings from the 15th Annual Conference of the International Visual Literacy Association by Roberts A.…
Seeing Ourselves: Visualization in a Social Context: Readings from the 14th Annual Conference of the International Visual Literacy Association by…
Television and Visual Literacy: Readings from the 13th Annual Conference of the International Visual Literacy Association by Roberts A. Braden…
Nonprint in the Elementary Curriculum: Readings for Reference by James L. Thomas
Visual Literacy: An Overview of Theory and Practice by Lucille Burbank DeSantis and Dennis W. Pett
Visual Literacy, Languaging, and Learning by John L. Debes and Clarence M. Williams
Visual Literacy in Communication: Designing for Development by Anne Zimmer and Fred Zimmer
Visual Literacy by Joan M. Platt
A Primer of Visual Literacy by Donis A. Dondis
Visual literacy: A Way to Learn–A Way to Teach by Roger B. Fransecky and John L. Debes
Digital technology has changed the way in which students utilize visual materials in academic work and has increased the importance of visual literacy skills. This paper reports the findings of a research project examining undergraduate and graduate students’ visual literacy skills and use of images in the context of academic work. The study explored types of visual resources used, the role that images play in academic papers and presentations, and the ways students select, evaluate, and process images. The findings of the study indicate that students lack skills in selecting, evaluating, and using images. Students use a range of visual resources in their presentations but rarely use images in papers.
This interpretive case study examines how undergraduate students enact visual literacies, focusing on transmediation from visual-embedded research papers into multimodal brochures, in an entry-level college writing course at a large research university in the U.S. Data sources included students’ artifacts, interview transcripts, and field notes.
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.
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.
This article provides a practical guide for teaching visual analysis to university students. By adapting Serafini’s curricular and pedagogical framework for teaching multimodal representations to incorporate self-reflection, I evince how visual analysis can be taught in a writing course and similar introductory courses.