Showing papers in "Journal of Visual Literacy in 2022"
TL;DR: The Association of College and Research Libraries Visual Literacy Task Force conducted qualitative research from 2019 to 2021, interviewing visual literacy and information literacy experts to identify emergent trends, challenges, and opportunities shaping visual literacy in the twenty-first century as mentioned in this paper .
Abstract: Visual literacy equips learners with the dispositions to critically create, analyse, use, and share visual information. As one component of a discerning, ethical citizenry, visual literacy has become more essential in a rapidly evolving information ecosystem. Against this backdrop, the current Association of College and Research Libraries Visual Literacy Task Force conducted qualitative research from 2019 to 2021, interviewing visual literacy and information literacy experts to identify emergent trends, challenges, and opportunities shaping visual literacy in the twenty-first century. The findings from this study broaden current understandings of visual literacy and empower learners, educators, and practitioners to critically create, share, evaluate, and use visuals in an ever-changing information landscape.
4 citations
DOI•
TL;DR: The Association of College and Research Libraries Visual Literacy Task Force conducted qualitative research from 2019 to 2021, interviewing visual literacy and information literacy experts to identify emergent trends, challenges, and opportunities shaping visual literacy in the twenty-first century as mentioned in this paper .
Abstract: Abstract Visual literacy equips learners with the dispositions to critically create, analyse, use, and share visual information. As one component of a discerning, ethical citizenry, visual literacy has become more essential in a rapidly evolving information ecosystem. Against this backdrop, the current Association of College and Research Libraries Visual Literacy Task Force conducted qualitative research from 2019 to 2021, interviewing visual literacy and information literacy experts to identify emergent trends, challenges, and opportunities shaping visual literacy in the twenty-first century. The findings from this study broaden current understandings of visual literacy and empower learners, educators, and practitioners to critically create, share, evaluate, and use visuals in an ever-changing information landscape.
3 citations
DOI•
TL;DR: In this paper , eye tracking has been utilized for decades to study perceptual processes in a range of fields, and it has proven particularly useful for studying how the viewing behaviours of experts and novices within a field differ from one another.
Abstract: Abstract Eye tracking has been utilized for decades to study perceptual processes in a range of fields, and it has proven particularly useful for studying how the viewing behaviours of experts and novices within a field differ from one another. This article reports on a study that uses eye tracking to examine patterns in the ways that visual communication experts and non-experts read journalistic photographs that they might encounter in their daily lives. Expert participants (29) were practitioners with a minimum of 4–5 years of experience in a visual communication field; non-expert participants (29) had no training in visual communication and had 0–1 year of experience. Participants viewed 10 images and answered a series of four questions about each image. Participant eye movements were tracked utilizing a TobiiPro x2-60 eye tracker connected to a 17-inch high-end gaming laptop. The literature suggests that there should be observable differences between the eye movements of experts and non-experts, with expert viewing behaviour being more efficient and effective. However, the differences between experts and non-expert participants in the study were inconsistent and far less extensive than expected. The article discusses possible explanations for these results and suggests directions for future studies.
1 citations
TL;DR: In this paper , the TobiiPro x2-60 eye tracker was used to examine patterns in the ways that visual communication experts and non-experts read journalistic photographs that they might encounter in their daily lives.
Abstract: Eye tracking has been utilized for decades to study perceptual processes in a range of fields, and it has proven particularly useful for studying how the viewing behaviours of experts and novices within a field differ from one another. This article reports on a study that uses eye tracking to examine patterns in the ways that visual communication experts and non-experts read journalistic photographs that they might encounter in their daily lives. Expert participants (29) were practitioners with a minimum of 4–5 years of experience in a visual communication field; non-expert participants (29) had no training in visual communication and had 0–1 year of experience. Participants viewed 10 images and answered a series of four questions about each image. Participant eye movements were tracked utilizing a TobiiPro x2-60 eye tracker connected to a 17-inch high-end gaming laptop. The literature suggests that there should be observable differences between the eye movements of experts and non-experts, with expert viewing behaviour being more efficient and effective. However, the differences between experts and non-expert participants in the study were inconsistent and far less extensive than expected. The article discusses possible explanations for these results and suggests directions for future studies.
1 citations
TL;DR: In the second version of the Common European Framework of Reference for Visual Competence (CEFR_VC) discussed in this journal issue, the main competency dimensions: creation and reception are represented in 16 sub-competencies, with an overarching competence dimension of metacognition as mentioned in this paper .
Abstract: In the second version of the Common European Framework of Reference for Visual Competence (CEFR_VC) discussed in this journal issue, the main competency dimensions: creation and reception are represented in 16 sub-competencies, with an overarching competence dimension of metacognition. Visual Rubrics (VRs) support the assessment process of visual competency through an in-depth understanding of the content and levels of competences developed in an art education programme. Activities and their quality are captured in symbolic visualizations (images and explanatory textual rubrics) that scaffold the learning path and turn the competence development process into a metacognitive experience. Based on the first version of the Common European Framework of Visual Literacy (CEFR-VL), VRs for secondary-level art education were successfully employed in five European countries as summative assessment tools. In Hungary, the VR development continued with the new version of the framework, the Common European Framework of Visual Competency (CEFR-VC to explore the adaptability of VRs in a variety of educational settings. The tool proved to be useful in formal, school-based education as well as in the informal educational environment of museums. In this article, we explain the structure and imagery of the VRs and discuss their reception by art educators.
TL;DR: The Visual Literacy for Engineering Education Competence Framework (VLEE) as discussed by the authors has been developed to enhance engineers' visual skills and abilities by using visual materials to enhance their communication, learning, and critical thinking skills.
Abstract: Visual literacy is essential for engineers. Technological professions have important visual characterization, both in the transmission of information and problem-solving. This means that future engineers must be proficient at communicating, thinking, and learning visually. However, engineering curricula takes partially the need to have visually literate students.The VLEE project was established to develop learning resources to enhance engineers’ visual skills and abilities. VLEE recently published the ‘Visual literacy for Engineering Education Competence Framework’, which, for the first time, addresses visual literacy learning specific to engineering. Our approach offers new opportunities for engineering students, following competency-based education, and attempts to contribute to a campus-wide collaborative effort to develop students’ communication, learning, and critical thinking skills using visual materials.This guide is considered relevant for all educators and experts in engineering education in order to help them successfully tackle the challenges that future professionals will inevitably face in the 21st century.
DOI•
TL;DR: In the second version of the Common European Framework of Reference for Visual Competence (CEFR_VC) discussed in this journal issue, the main competency dimensions: creation and reception are represented in 16 sub-competencies, with an overarching competence dimension of metacognition as discussed by the authors .
Abstract: Abstract In the second version of the Common European Framework of Reference for Visual Competence (CEFR_VC) discussed in this journal issue, the main competency dimensions: creation and reception are represented in 16 sub-competencies, with an overarching competence dimension of metacognition. Visual Rubrics (VRs) support the assessment process of visual competency through an in-depth understanding of the content and levels of competences developed in an art education programme. Activities and their quality are captured in symbolic visualizations (images and explanatory textual rubrics) that scaffold the learning path and turn the competence development process into a metacognitive experience. Based on the first version of the Common European Framework of Visual Literacy (CEFR-VL), VRs for secondary-level art education were successfully employed in five European countries as summative assessment tools. In Hungary, the VR development continued with the new version of the framework, the Common European Framework of Visual Competency (CEFR-VC to explore the adaptability of VRs in a variety of educational settings. The tool proved to be useful in formal, school-based education as well as in the informal educational environment of museums. In this article, we explain the structure and imagery of the VRs and discuss their reception by art educators.
DOI•
TL;DR: In this article , the authors explored how address and involvement are visually realised in young children's e-books about COVID-19 and found that the analysed images mostly assign children both roles of information receivers and active learners, while encouraging their engagement with what is represented.
Abstract: Abstract COVID-19 e-books have emerged as means for communicating information about coronavirus and the resulting disease to children during the pandemic. This material is multimodal, with images forming the most prevalent and crucial semiotic mode. Except for representational and compositional meaning, an image realises interpersonal meanings. The degree to which the reader is activated (address) and prompted to become engaged with what is represented (involvement) constitute interpersonal meaning dimensions that reflect crucial pedagogical perceptions about children’s learning. This study explored how address and involvement are visually realised in young children’s e-books about COVID-19. The sample consisted of 100 randomly selected images of living or anthropomorphic entities included in 18 COVID-19 e-books for young children. The framework of analysis was based on the Grammar of Visual Design. Results indicate that the analysed images mostly assign children both roles of information receivers and active learners, while encouraging their engagement with what is represented. These interpersonal meanings largely align with the socio-cognitive perspective on young children’s learning. The study could support teachers in the selection, design, and use of multimodal learning materials to promote children’s visual literacy, especially in emergency conditions as those imposed by the COVID-19 pandemic.
DOI•
TL;DR: This paper found that perceived interpretational guidance is the key explanatory mechanism for the effect of verbal anchoring on persuasion in modern advertising, and that people value the cognitive efficiency associated with being guided in their interpretation of the ad imagery.
Abstract: Abstract Many persuasive messages intermingle images with text. Readers who wish to interpret such messages must grapple with the information in both modalities as well as the relationship between them. One instance of this occurs in modern advertising, which is predominantly visual with verbal text assuming a supporting role. The text functions to anchor the meaning of the image, thereby guiding the reader to the preferred conclusion. However, little is known about how variations in verbal anchoring produce meaning and persuasion. To address this knowledge gap, the present study sketches a model of message processing in which perceived interpretational guidance is the key explanatory mechanism. A repeated measures experiment (N = 304) finds that verbal anchoring (complete vs. moderate vs. none) is positively related to perceived interpretational guidance, regardless of the complexity of an ad’s image (straightforward vs. visual rhetorical figure). Moreover, perceived interpretational guidance explains the effects of verbal anchoring on persuasion. Findings suggest that complete anchoring should be preferred over moderate or no anchoring because people value the cognitive efficiency associated with being guided in their interpretation of the ad’s visual imagery.
TL;DR: In this paper , no potential conflict of interest was reported by the author(s) and no potential conflicts of interest were reported by any other party in the literature.Click to increase image sizeClick to decrease image size Disclosure statement
Abstract: Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).
DOI•
TL;DR: In this article , the authors make a plea for active visual inquiry through drawing to be given a more prominent place in visual literacy education than it is given now, and suggest that learning in the visual domain should be compulsory for all students in education.
Abstract: Abstract This contribution is intended as a plea for the reappraisal of drawing as a means of active visual inquiry in Visual Literacy. Active visual inquiry is a most adequate concept to describe the first two phases of the sub-domain of ‘producing’ in the revised Common European Framework of Reference for Visual Competency (CEFR-VC): ‘the competency to generate visual ideas’ and ‘the competency to do visual research’. It also relates to activities covered by the first two phases of the sub-domain of ‘responding’ in the CEFR-VC: the ‘competency to perceive images with an open mind’ and ‘the competency to explore images’. All four competencies rely on ways of visual thinking, visual analysis and understanding of images in visual terms. They suggest that learning in the visual domain should be compulsory for all students in education. These competencies and their underlying skills were paramount in art education before World War II. Since then we have witnessed a gradual marginalization of these competencies – in particular technique and repertoire – in favour of interests in content, communication and creativity. We think it is time to address the neglect of these competencies and make a plea for active visual inquiry through drawing to be given a more prominent place in visual literacy education than it is given now.
DOI•
TL;DR: In this paper , conditions for visual arts education in Swedish compulsory school are analyzed from a pre-reflective perspective and related to affiliated sub-competences defined by the European Network for Visual Literacy.
Abstract: Abstract The article problematizes conditions for visual arts education in Swedish compulsory school. This, by discussing the syllabus for visual arts (Sw. Bild) and through giving examples of teaching in the subject, based on interviews with visual arts teachers, carried out in connection with the production of two Assessment Guides on behalf of The National Agency for Education in 2012 and 2014. The subject visual arts are contextualized in relation to research in the subject field and the national evaluations in visual arts completed in 1992, 2003 and 2013. The research material is analyzed from a post-reflective perspective in relation to the 2011 syllabus (Lgr11) for visual arts, where visual communication and visual culture are central in defining the subject content. The research is further discussed in relation to the renewed syllabus for visual arts (Lgr22), operated in Swedish schools from school year 2022/2023, where a stronger emphasis emerges on visual competency. The syllabus and visual competency is discussed from a pre-reflective perspective and related to affiliated sub-competences defined by the European Network for Visual Literacy.
DOI•
TL;DR: In this article , the significance of creative freedom and self-expression through the visual analysis of artworks produced in a workshop under the theme ‘Visual Literacy’ has been investigated.
Abstract: Abstract This research investigates the significance of creative freedom and self-expression through the visual analysis of artworks produced in a workshop under the theme ‘Visual Literacy’. This multi-layered qualitative study presents the findings from a participatory arts-based research approach that elicits students’ creative expression through their personal mandalas. Artworks collected from this creative process were assessed using the interpretive phenomenological analysis method whereas the Common European Framework of Reference for Visual Literacy (CEFR-VL) was used as an assessment tool. Supporting youth through arts-based interventions and motivating them to communicate their feelings and perceptions can be an integral part of students’ creative development. Hence, as the focus of the study, this paper aims to illustrate the youths’ perception, interpretation, and meaning-making through the artistic creative processes to stimulate their creative and critical thinking.
TL;DR: In this paper , the significance of creative freedom and self-expression through the visual analysis of artworks produced in a workshop under the theme ‘Visual Literacy’ has been investigated.
Abstract: This research investigates the significance of creative freedom and self-expression through the visual analysis of artworks produced in a workshop under the theme ‘Visual Literacy’. This multi-layered qualitative study presents the findings from a participatory arts-based research approach that elicits students’ creative expression through their personal mandalas. Artworks collected from this creative process were assessed using the interpretive phenomenological analysis method whereas the Common European Framework of Reference for Visual Literacy (CEFR-VL) was used as an assessment tool. Supporting youth through arts-based interventions and motivating them to communicate their feelings and perceptions can be an integral part of students’ creative development. Hence, as the focus of the study, this paper aims to illustrate the youths’ perception, interpretation, and meaning-making through the artistic creative processes to stimulate their creative and critical thinking.
DOI•
TL;DR: The Visual Literacy for Engineering Education (VLEE) project as mentioned in this paper was established to develop learning resources to enhance engineers' visual skills and abilities, and the VLEE project has published the Visual literacy for engineering education competence framework, which addresses visual literacy learning specific to engineering.
Abstract: Abstract Visual literacy is essential for engineers. Technological professions have important visual characterization, both in the transmission of information and problem-solving. This means that future engineers must be proficient at communicating, thinking, and learning visually. However, engineering curricula takes partially the need to have visually literate students. The VLEE project was established to develop learning resources to enhance engineers’ visual skills and abilities. VLEE recently published the ‘Visual literacy for Engineering Education Competence Framework’, which, for the first time, addresses visual literacy learning specific to engineering. Our approach offers new opportunities for engineering students, following competency-based education, and attempts to contribute to a campus-wide collaborative effort to develop students’ communication, learning, and critical thinking skills using visual materials. This guide is considered relevant for all educators and experts in engineering education in order to help them successfully tackle the challenges that future professionals will inevitably face in the 21st century.
TL;DR: The Common European Framework of Reference for Visual Competency (CEFR-VC) as mentioned in this paper was developed through the European Network for Visual Literacy (Envil), in the context of international trends in curriculum design.
Abstract: This paper addresses some of the theoretical and practical implications of the Common European Framework of Reference for Visual Competency (CEFR-VC), developed through the European Network for Visual Literacy (Envil), in the context of international trends in curriculum design. Empirical application of the Framework is examined through the specific experience of designing a national programme for art in Ireland, for a high stakes public examination. The paper reflects on the issues that the Framework raised in that context. The paper suggests that a useful lens through which to view the framework might be that of activity theory and proposes that the framework itself might best be understood as a ‘boundary-object’ that can help inform the complex negotiations between art education and schooling.
TL;DR: In this paper , conditions for visual arts education in Swedish compulsory school are analyzed from a post-reflective perspective in relation to the 2011 syllabus (Lgr11), where visual communication and visual culture are central in defining the subject content.
Abstract: The article problematizes conditions for visual arts education in Swedish compulsory school. This, by discussing the syllabus for visual arts (Sw. Bild) and through giving examples of teaching in the subject, based on interviews with visual arts teachers, carried out in connection with the production of two Assessment Guides on behalf of The National Agency for Education in 2012 and 2014. The subject visual arts are contextualized in relation to research in the subject field and the national evaluations in visual arts completed in 1992, 2003 and 2013. The research material is analyzed from a post-reflective perspective in relation to the 2011 syllabus (Lgr11) for visual arts, where visual communication and visual culture are central in defining the subject content. The research is further discussed in relation to the renewed syllabus for visual arts (Lgr22), operated in Swedish schools from school year 2022/2023, where a stronger emphasis emerges on visual competency. The syllabus and visual competency is discussed from a pre-reflective perspective and related to affiliated sub-competences defined by the European Network for Visual Literacy.
TL;DR: This paper found that perceived interpretational guidance is the key explanatory mechanism for the effect of verbal anchoring on persuasion in modern advertising, regardless of the complexity of an ad image (straightforward vs. visual rhetorical figure).
Abstract: Many persuasive messages intermingle images with text. Readers who wish to interpret such messages must grapple with the information in both modalities as well as the relationship between them. One instance of this occurs in modern advertising, which is predominantly visual with verbal text assuming a supporting role. The text functions to anchor the meaning of the image, thereby guiding the reader to the preferred conclusion. However, little is known about how variations in verbal anchoring produce meaning and persuasion. To address this knowledge gap, the present study sketches a model of message processing in which perceived interpretational guidance is the key explanatory mechanism. A repeated measures experiment (N = 304) finds that verbal anchoring (complete vs. moderate vs. none) is positively related to perceived interpretational guidance, regardless of the complexity of an ad’s image (straightforward vs. visual rhetorical figure). Moreover, perceived interpretational guidance explains the effects of verbal anchoring on persuasion. Findings suggest that complete anchoring should be preferred over moderate or no anchoring because people value the cognitive efficiency associated with being guided in their interpretation of the ad’s visual imagery.
TL;DR: In this article , the authors explored how address and involvement are visually realised in young children's e-books about COVID-19 and found that the analysed images mostly assign children both roles of information receivers and active learners, while encouraging their engagement with what is represented.
Abstract: COVID-19 e-books have emerged as means for communicating information about coronavirus and the resulting disease to children during the pandemic. This material is multimodal, with images forming the most prevalent and crucial semiotic mode. Except for representational and compositional meaning, an image realises interpersonal meanings. The degree to which the reader is activated (address) and prompted to become engaged with what is represented (involvement) constitute interpersonal meaning dimensions that reflect crucial pedagogical perceptions about children’s learning. This study explored how address and involvement are visually realised in young children’s e-books about COVID-19. The sample consisted of 100 randomly selected images of living or anthropomorphic entities included in 18 COVID-19 e-books for young children. The framework of analysis was based on the Grammar of Visual Design. Results indicate that the analysed images mostly assign children both roles of information receivers and active learners, while encouraging their engagement with what is represented. These interpersonal meanings largely align with the socio-cognitive perspective on young children’s learning. The study could support teachers in the selection, design, and use of multimodal learning materials to promote children’s visual literacy, especially in emergency conditions as those imposed by the COVID-19 pandemic.
DOI•
TL;DR: The Common European Framework of Reference for Visual Competency (CEFR-VC) as discussed by the authors was developed through the European Network for Visual Literacy (Envil), in the context of international trends in curriculum design.
Abstract: Abstract This paper addresses some of the theoretical and practical implications of the Common European Framework of Reference for Visual Competency (CEFR-VC), developed through the European Network for Visual Literacy (Envil), in the context of international trends in curriculum design. Empirical application of the Framework is examined through the specific experience of designing a national programme for art in Ireland, for a high stakes public examination. The paper reflects on the issues that the Framework raised in that context. The paper suggests that a useful lens through which to view the framework might be that of activity theory and proposes that the framework itself might best be understood as a ‘boundary-object’ that can help inform the complex negotiations between art education and schooling.
TL;DR: In this article , the authors make a plea for active visual inquiry through drawing to be given a more prominent place in visual literacy education than it is given now, and suggest that learning in the visual domain should be compulsory for all students in education.
Abstract: This contribution is intended as a plea for the reappraisal of drawing as a means of active visual inquiry in Visual Literacy. Active visual inquiry is a most adequate concept to describe the first two phases of the sub-domain of ‘producing’ in the revised Common European Framework of Reference for Visual Competency (CEFR-VC): ‘the competency to generate visual ideas’ and ‘the competency to do visual research’. It also relates to activities covered by the first two phases of the sub-domain of ‘responding’ in the CEFR-VC: the ‘competency to perceive images with an open mind’ and ‘the competency to explore images’. All four competencies rely on ways of visual thinking, visual analysis and understanding of images in visual terms. They suggest that learning in the visual domain should be compulsory for all students in education. These competencies and their underlying skills were paramount in art education before World War II. Since then we have witnessed a gradual marginalization of these competencies – in particular technique and repertoire – in favour of interests in content, communication and creativity. We think it is time to address the neglect of these competencies and make a plea for active visual inquiry through drawing to be given a more prominent place in visual literacy education than it is given now.