Visual literacy is the ability to find, interpret, evaluate, use, and create visual media such as images, photos, and videos. It involves understanding how visual elements like composition, color, and lighting are used to convey meaning. A visually literate person can analyze both the technical and contextual aspects of visual works. The document outlines three key competencies of visual literacy: image literacy, digital literacy, and image composition. It also provides examples of how libraries can support visual literacy through their collections, technology, and instruction.
Representation involves how people, places, and objects are portrayed to an audience through various media. Representation is unavoidably selective and constructed from a particular point of view. Various theorists have examined how representation works. Stuart Hall analyzed how audiences can interpret representations in preferred, negotiated, or oppositional ways. Richard Dyer examined how stereotypes are often used to brand groups and present differences as natural. Roland Barthes distinguished between denotation and connotation, and how myths are used to naturalize dominant ideologies.
Introduction lecture (Intro to Art Fall 2011)nichsara
This document discusses visual literacy and visual memory. It defines visual literacy as the ability to understand and communicate graphically by carefully analyzing images and their intended meanings and messages. Visual memory is described as one's storehouse of familiar images. The document also references controversies around retouching images and provides information about an upcoming art history student association event.
The document provides guidance on analyzing visual images through various techniques:
1. It outlines strategies for examining images holistically, technical elements, and hidden meanings.
2. A three-part approach is described for visual analysis: describing context, examining formal mechanics, and analyzing symbolic meaning.
3. Semiotic analysis is introduced as a method to study signs conveyed by images, especially in advertising. Signs can be symbolic, iconic, or indexical.
This document outlines the agenda for an English 101 class on visual texts and linguistic landscapes. It discusses exploring street art, political cartoons, and the linguistic landscape of the local community. Students will work in groups to identify issues in their campus or city, and create a visual text addressing one of these issues. The project aims to examine how different visual genres like graffiti, signs and murals are used in public spaces, and what social meanings they convey. Students are asked to find and analyze examples of different visual genres, considering aspects like who produced them, their purpose and intended audience.
Mark Levi is a field service engineer with over 20 years of experience maintaining and repairing electronic, electrical, and mechanical systems including roadway sensors, weather stations, cameras, computers, and network equipment. He is proficient with testing equipment, software applications, and has extensive experience servicing equipment for various state Departments of Transportation. Levi holds associate degrees in electronic engineering technology and aerospace ground equipment technology.
The document summarizes a proposed crime drama television series called "KING". The main character is Detective DCI Kennedy, who works in London in a slightly corrupt manner but always solves his cases. His personal life intertwines with his work, including relationship struggles with his wife. Each episode features a new murder case linked somehow to Kennedy's life. The genre is a crime drama filmed on location in London. It aims to air after 9pm on Amazon Prime for a mature audience aged 15+.
The document describes a flowerbed garden that is shaped like a rectangle with a missing square section. The dimensions given are that the overall rectangle is 16 feet by 12 feet, and the missing inner square is 10 feet by 10 feet. To find the total area, you would calculate the area of the overall rectangle (16 x 12 = 192 sq ft) and subtract the area of the missing inner square (10 x 10 = 100 sq ft), giving a total area of 192 - 100 = 92 square feet.
Representation involves how people, places, and objects are portrayed to an audience through various media. Representation is unavoidably selective and constructed from a particular point of view. Various theorists have examined how representation works. Stuart Hall analyzed how audiences can interpret representations in preferred, negotiated, or oppositional ways. Richard Dyer examined how stereotypes are often used to brand groups and present differences as natural. Roland Barthes distinguished between denotation and connotation, and how myths are used to naturalize dominant ideologies.
Introduction lecture (Intro to Art Fall 2011)nichsara
This document discusses visual literacy and visual memory. It defines visual literacy as the ability to understand and communicate graphically by carefully analyzing images and their intended meanings and messages. Visual memory is described as one's storehouse of familiar images. The document also references controversies around retouching images and provides information about an upcoming art history student association event.
The document provides guidance on analyzing visual images through various techniques:
1. It outlines strategies for examining images holistically, technical elements, and hidden meanings.
2. A three-part approach is described for visual analysis: describing context, examining formal mechanics, and analyzing symbolic meaning.
3. Semiotic analysis is introduced as a method to study signs conveyed by images, especially in advertising. Signs can be symbolic, iconic, or indexical.
This document outlines the agenda for an English 101 class on visual texts and linguistic landscapes. It discusses exploring street art, political cartoons, and the linguistic landscape of the local community. Students will work in groups to identify issues in their campus or city, and create a visual text addressing one of these issues. The project aims to examine how different visual genres like graffiti, signs and murals are used in public spaces, and what social meanings they convey. Students are asked to find and analyze examples of different visual genres, considering aspects like who produced them, their purpose and intended audience.
Mark Levi is a field service engineer with over 20 years of experience maintaining and repairing electronic, electrical, and mechanical systems including roadway sensors, weather stations, cameras, computers, and network equipment. He is proficient with testing equipment, software applications, and has extensive experience servicing equipment for various state Departments of Transportation. Levi holds associate degrees in electronic engineering technology and aerospace ground equipment technology.
The document summarizes a proposed crime drama television series called "KING". The main character is Detective DCI Kennedy, who works in London in a slightly corrupt manner but always solves his cases. His personal life intertwines with his work, including relationship struggles with his wife. Each episode features a new murder case linked somehow to Kennedy's life. The genre is a crime drama filmed on location in London. It aims to air after 9pm on Amazon Prime for a mature audience aged 15+.
The document describes a flowerbed garden that is shaped like a rectangle with a missing square section. The dimensions given are that the overall rectangle is 16 feet by 12 feet, and the missing inner square is 10 feet by 10 feet. To find the total area, you would calculate the area of the overall rectangle (16 x 12 = 192 sq ft) and subtract the area of the missing inner square (10 x 10 = 100 sq ft), giving a total area of 192 - 100 = 92 square feet.
Las primeras Olimpiadas para Jóvenes Ciberperiodistas de República Dominicana se llevaron a cabo en Santo Domingo en agosto de 2007. El evento fue organizado por un equipo docente formado por José Manuel Pérez Tornero, Santiago Tejedor Calvo, Iban Campo y Xavier Ortuño, expertos en periodismo y comunicación de universidades y organizaciones españolas y dominicanas.
The document discusses the benefits of exergaming tournaments for physical activity and health. Exergaming combines physical exercise with video games. It can encourage physical fitness for people of all abilities and ages through fun competition. The document outlines how exergaming tournaments work similarly to traditional sports tournaments, but have additional benefits like being able to accommodate varying abilities and allowing remote competition. It provides examples of successful exergaming tournaments using games like Dance Dance Revolution and Wii Sports.
La masa del neutrino y sus implicaciones cosmológicasNicanor Terrero
El documento discute la masa del neutrino y sus implicaciones cosmológicas. Explica que si bien el Modelo Estándar predice que el neutrino es masa cero, experimentos sugieren que podría tener una masa pequeña pero no nula. Estimaciones de la densidad de neutrinos en el universo primitivo y la dinámica de galaxias indican que la masa del neutrino debería estar entre 10 eV y 30 eV, pero mediciones más precisas la sitúan por debajo de 9 eV y posiblemente tan baja como 0.05 eV. Una masa alta
Amit Sharma is seeking a career in a hi-tech environment where he can fully utilize his skills and potential. He has a Bachelor's degree in Mechanical Engineering and is currently working as a quality engineer. He has experience working with injection molding machines and knowledge of various plastic materials. In his current role, he is responsible for achieving quality standards, process monitoring, and training operators.
Apar Technologies is a global IT services company with over 2,200 employees. It is backed by Apar Group, a $900 million conglomerate, and Basil Growth Fund. Apar focuses on enterprise application solutions like digital business transformation, infrastructure management, and identity and access management for large corporate clients. It has a global presence with offices worldwide. Apar's service offerings include digital business transformation, infrastructure management, and identity and access management. It has expertise in technologies from Microsoft, IBM, and other vendors. Apar works with clients across various industries including financial services, government, telecom, and more.
El documento describe los objetivos y planes de un proyecto educativo llamado Ludoteca Pequelandia. Se basa en la Reforma Curricular Consensuada y tiene como lema explotar el potencial de los niños. El proyecto busca apoyar el aprendizaje de los niños de manera dinámica y divertida en un ambiente sano y acogedor. La meta es que Ludoteca Pequelandia sea uno de los primeros centros educativos en el 2020 al implementar una nueva metodología de aprendizaje y abrir sucursales en Quito norte
Shaik Mahammad Shakeer is seeking a design engineering position with 2 years of experience using CATIA V5. He has experience modeling and detailing plastic and sheet metal components, applying GD&T standards, and ensuring design accuracy. Notable projects include modeling cabin interiors, a hub lock assembly, and BIW components for automotive applications. He is proficient in CATIA V5 modeling, assemblies, drafting, and has experience with sheet metal forming and forging components.
Austin Robert Johnson is a British and South African national currently residing in Harare, Zimbabwe. He received secondary education at Prince Edward High School in Harare. Johnson has over 35 years of experience working in the financial services industry, primarily with Central Africa Building Society in roles such as Senior Manager of Business Transformation, Operations Support Division, Research and Design, and Systems Development. He is now self-employed investing in equities and money markets. Johnson has expertise in areas such as data migration, project management, business process reengineering, and information technology.
IMPORTANCIA DEL JUEGO EN LA VIDA HUMANA. JUEGOS Y JUGUETES.maria borja
El documento trata sobre la importancia del juego en la vida humana. Explica que el juego es una capacidad antropológica universal y que a través del juego se transmiten las características culturales de los pueblos. También destaca que el juego es una necesidad vital para el desarrollo físico, emocional, intelectual y social de las personas y que constituye un derecho reconocido internacionalmente en la Convención sobre los Derechos del Niño.
Las ludotecas en España: entre la PERMANENCIA y el CAMBIO. Su aportación a ...maria borja
Las ludotecas en España han evolucionado desde su creación para paliar limitaciones socioeconómicas y pedagógicas, ofreciendo ahora una educación basada en el juego libre, creativo e inclusivo. Aunque mantienen aspectos fundamentales como el juego y la educación en valores éticos, se han diversificado en gestión, financiación y proyectos lúdicos para adaptarse a una sociedad más compleja. Las ludotecas siguen aportando a la comunidad una mayor calidad en el juego y la estimulación de la ludicidad
Abogewinnung und -bindung war gestern – Freunde sein ist das Gebot der Stunde!Jan Honsel
Viele Jahre haben sich auch Zeitschriftenverlage auf die Gewinnung von (Neu-) Kunden mittels Incentives fokussiert und entsprechende Drehtürmentalitäten bei den Käufern mit gefördert. Im Wettbewerb um Aufmerksamkeit und den Geldbeutel der Konsumenten ist diese Strategie zu überdenken und eine emotionale, mehrwertige Freundschaft aufzubauen. Doch kann ein solcher Shift gelingen und was können andere daraus lernen? Was braucht man dafür? Ein paar Beispiele aus der Welt der Medien.
Der Vortrag war Teil des CRM Executive Cirles von Management Circle am 28. und 29. Oktober 2013 in Frankfurt.
Gefällt mir zahlt sich aus! Return on Social Media am Beispiel von BUSINESS PUNKJan Honsel
Wie man mit dem richtigen Content, dessen Steuerung, der richtigen Fan-Beziehung und der Verzahnung von old und social business erfolgreich sein kann. Meine Erfahrungen aus der Gründungsphase und den letzten 3,5 Jahren als Co-Founder von BUSINESS PUNK. Vortrag wurde im Rahmen der Allfacebook Marketing Conference am 6.11.2013 in Berlin gehalten. Weitere Details zur Veranstaltung: http://conference.allfacebook.de/marcon/berlin2013/programm
Visual literacy refers to the ability to understand and create visual representations such as images, videos, and graphics. It involves skills like interpreting visual symbols and media, understanding illustrations and visual data displays, and recognizing how visuals are manipulated. Visual literacy is important for communication, interpreting media, and is used in many fields like design, engineering, and education. Teachers can promote visual literacy skills in the classroom through activities like picture walks, using visual organizers, and hands-on spatial learning experiences.
Visual literacy is the ability to understand and interpret visual images and to communicate using visual forms. It involves developing skills to analyze and interpret images within their cultural context, understand how images are constructed and can manipulate meaning, and produce visual communications. Teaching visual literacy is important because images pervade society and understanding visual messages is crucial for obtaining information and constructing knowledge in educational settings and everyday life. Strategies for developing visual literacy include exposing students to diverse images, teaching them to ask critical questions about images, and providing opportunities for students to experiment with creating and manipulating visual forms using technology.
1. Virtual heritage utilizes virtual reality and mixed reality to represent cultural artifacts and spaces. However, interaction design studies and consideration of end-users are often lacking.
2. Cultural presence refers to a visitor's sense of being in a foreign time or place when experiencing virtual environments related to different cultures. However, virtual places can be highly static and lack meaningful interactions.
3. Evaluating virtual heritage projects poses challenges regarding preservation of content over time and platforms, as well as training staff and users. Museums and cultural institutions are still developing strategies for utilizing augmented, virtual and mixed reality technologies.
ART 1301, Art Appreciation I 1 Course Learning Outcom.docxaryan532920
ART 1301, Art Appreciation I 1
Course Learning Outcomes for Unit I
Upon completion of this unit, students should be able to:
1. Justify visual arts in relation to history and culture.
1.1 Explain public art’s functions.
1.2 Examine human creativity as an inherent trait that inspires the production of art.
3. Interpret artworks using the elements of design.
3.1 Define art as means of visual expression using different media and forms.
3.2 Contrast the ritual, social, and public functions of art.
3.3 Distinguish form and meaning in visual analysis.
5. Recognize an artwork or artist by style and time period.
5.1 Recall the type of art used in individual works.
Reading Assignment
Chapter 1:
The Nature of Art and Creativity
Chapter 2:
The Purposes and Functions of Art
Click here to access the Unit I Video.
Click here to access the transcript of the Unit I Video.
The below link contains an interactive audio that will explain the purpose of art:
Pearson (n.d.). The effects of good government [Audiovisual webpage]. Retrieved from
http://closerlook.pearsoncmg.com/view.php?type=closerlook&id=469
Click here to access the Closer Look video titled “The Effects of Good Government.”
Click here to access the video transcript.
Unit Lesson
Chapter 1: The Nature of Art and Creativity
What is art? Art is all around us. You might have a favorite painting hanging on a wall or even a favorite cup
that you use. The cup may seem like a bit of a stretch, but it is a form of art. It may be mass-produced, but
someone designed that cup. Everyday objects are designed with usability in mind; paintings on the wall are
meant to be visually appealing, and sometimes art is created just to make you think.
UNIT I STUDY GUIDE
What is Art, and How
Does it Function?
https://online.columbiasouthern.edu/CSU_Content/Courses/General_Studies/ART/ART1301/14B/UnitI_Video_CSU.MP4
https://online.columbiasouthern.edu/CSU_Content/Courses/General_Studies/ART/ART1301/14B/UnitI_VideoScript_CSU.pdf
http://closerlook.pearsoncmg.com/view.php?type=closerlook&id=469
https://online.columbiasouthern.edu/CSU_Content/courses/General_Studies/ART/ART1301/14B/UnitI_TheEffectsofGoodGovernmentTranscript.pdf
ART 1301, Art Appreciation I 2
UNIT x STUDY GUIDE
Title
For example, Janet Echelman’s Her Secret Is Patience (page 3 of your course textbook and in the above
image) is a mixed media work of art created from fiber, steel, and light. Commissioned for the city of Phoenix,
Arizona, this public work evokes the color and light of the surrounding desert landscape. Can you imagine the
planning, safety trials, paperwork, and handiwork that went into making this piece? Hearing the public
responses to the work reveals multiple interpretations depending on the viewer’s experience. How do you
view this work?
Individual likes and dislikes of art are similar to preferences and choices in everyday life such as those for
...
The document discusses how visual elements produce meaning in multimedia and multimodal texts. It covers various ways visuals operate, including through artists' work, websites, images in newspapers, and more. It explores concepts like visual critique, semiotics, and how elements like color, fonts and layouts carry meaning. In conclusion, it discusses how visual design is about more than decoration - it can create and manipulate meanings and virtual experiences.
This document provides an overview and introduction to concepts related to cultural practice and new media cultures. It discusses key topics such as the differences between analog and digital media, definitions of culture and new media culture, theories of representation in media, and how to analyze images and representations of culture. Specific concepts covered include virtual reality, convergence, interactivity, and theories from scholars like Manovich and Hall regarding new media and representations.
Extended Context/Extended Media - Class 01 - 2015Bryan Chung
This document provides information about the VASE7200 Extended Context/Extended Media course, including the course website, teachers, schedule, assignments, evaluation criteria, and list of potential secondary supervisors and guest speakers. It discusses the course format, activities, and examples of past student artworks. It also provides an overview of topics that will be covered in the course, such as relational aesthetics, participatory art, information visualization, and tactical media. The document emphasizes exploring art through both its formal qualities and broader contexts.
This document outlines the schedule and content for an introduction to visual culture course. The course will cover topics such as ways of seeing, dominance of images, showing seeing, what is visual culture, art history, art appreciation, connoisseurship and taste, and new ways of seeing. It will examine how images are analyzed in relation to cultural, social, and historical context and how vision is a cultural construction.
Las primeras Olimpiadas para Jóvenes Ciberperiodistas de República Dominicana se llevaron a cabo en Santo Domingo en agosto de 2007. El evento fue organizado por un equipo docente formado por José Manuel Pérez Tornero, Santiago Tejedor Calvo, Iban Campo y Xavier Ortuño, expertos en periodismo y comunicación de universidades y organizaciones españolas y dominicanas.
The document discusses the benefits of exergaming tournaments for physical activity and health. Exergaming combines physical exercise with video games. It can encourage physical fitness for people of all abilities and ages through fun competition. The document outlines how exergaming tournaments work similarly to traditional sports tournaments, but have additional benefits like being able to accommodate varying abilities and allowing remote competition. It provides examples of successful exergaming tournaments using games like Dance Dance Revolution and Wii Sports.
La masa del neutrino y sus implicaciones cosmológicasNicanor Terrero
El documento discute la masa del neutrino y sus implicaciones cosmológicas. Explica que si bien el Modelo Estándar predice que el neutrino es masa cero, experimentos sugieren que podría tener una masa pequeña pero no nula. Estimaciones de la densidad de neutrinos en el universo primitivo y la dinámica de galaxias indican que la masa del neutrino debería estar entre 10 eV y 30 eV, pero mediciones más precisas la sitúan por debajo de 9 eV y posiblemente tan baja como 0.05 eV. Una masa alta
Amit Sharma is seeking a career in a hi-tech environment where he can fully utilize his skills and potential. He has a Bachelor's degree in Mechanical Engineering and is currently working as a quality engineer. He has experience working with injection molding machines and knowledge of various plastic materials. In his current role, he is responsible for achieving quality standards, process monitoring, and training operators.
Apar Technologies is a global IT services company with over 2,200 employees. It is backed by Apar Group, a $900 million conglomerate, and Basil Growth Fund. Apar focuses on enterprise application solutions like digital business transformation, infrastructure management, and identity and access management for large corporate clients. It has a global presence with offices worldwide. Apar's service offerings include digital business transformation, infrastructure management, and identity and access management. It has expertise in technologies from Microsoft, IBM, and other vendors. Apar works with clients across various industries including financial services, government, telecom, and more.
El documento describe los objetivos y planes de un proyecto educativo llamado Ludoteca Pequelandia. Se basa en la Reforma Curricular Consensuada y tiene como lema explotar el potencial de los niños. El proyecto busca apoyar el aprendizaje de los niños de manera dinámica y divertida en un ambiente sano y acogedor. La meta es que Ludoteca Pequelandia sea uno de los primeros centros educativos en el 2020 al implementar una nueva metodología de aprendizaje y abrir sucursales en Quito norte
Shaik Mahammad Shakeer is seeking a design engineering position with 2 years of experience using CATIA V5. He has experience modeling and detailing plastic and sheet metal components, applying GD&T standards, and ensuring design accuracy. Notable projects include modeling cabin interiors, a hub lock assembly, and BIW components for automotive applications. He is proficient in CATIA V5 modeling, assemblies, drafting, and has experience with sheet metal forming and forging components.
Austin Robert Johnson is a British and South African national currently residing in Harare, Zimbabwe. He received secondary education at Prince Edward High School in Harare. Johnson has over 35 years of experience working in the financial services industry, primarily with Central Africa Building Society in roles such as Senior Manager of Business Transformation, Operations Support Division, Research and Design, and Systems Development. He is now self-employed investing in equities and money markets. Johnson has expertise in areas such as data migration, project management, business process reengineering, and information technology.
IMPORTANCIA DEL JUEGO EN LA VIDA HUMANA. JUEGOS Y JUGUETES.maria borja
El documento trata sobre la importancia del juego en la vida humana. Explica que el juego es una capacidad antropológica universal y que a través del juego se transmiten las características culturales de los pueblos. También destaca que el juego es una necesidad vital para el desarrollo físico, emocional, intelectual y social de las personas y que constituye un derecho reconocido internacionalmente en la Convención sobre los Derechos del Niño.
Las ludotecas en España: entre la PERMANENCIA y el CAMBIO. Su aportación a ...maria borja
Las ludotecas en España han evolucionado desde su creación para paliar limitaciones socioeconómicas y pedagógicas, ofreciendo ahora una educación basada en el juego libre, creativo e inclusivo. Aunque mantienen aspectos fundamentales como el juego y la educación en valores éticos, se han diversificado en gestión, financiación y proyectos lúdicos para adaptarse a una sociedad más compleja. Las ludotecas siguen aportando a la comunidad una mayor calidad en el juego y la estimulación de la ludicidad
Abogewinnung und -bindung war gestern – Freunde sein ist das Gebot der Stunde!Jan Honsel
Viele Jahre haben sich auch Zeitschriftenverlage auf die Gewinnung von (Neu-) Kunden mittels Incentives fokussiert und entsprechende Drehtürmentalitäten bei den Käufern mit gefördert. Im Wettbewerb um Aufmerksamkeit und den Geldbeutel der Konsumenten ist diese Strategie zu überdenken und eine emotionale, mehrwertige Freundschaft aufzubauen. Doch kann ein solcher Shift gelingen und was können andere daraus lernen? Was braucht man dafür? Ein paar Beispiele aus der Welt der Medien.
Der Vortrag war Teil des CRM Executive Cirles von Management Circle am 28. und 29. Oktober 2013 in Frankfurt.
Gefällt mir zahlt sich aus! Return on Social Media am Beispiel von BUSINESS PUNKJan Honsel
Wie man mit dem richtigen Content, dessen Steuerung, der richtigen Fan-Beziehung und der Verzahnung von old und social business erfolgreich sein kann. Meine Erfahrungen aus der Gründungsphase und den letzten 3,5 Jahren als Co-Founder von BUSINESS PUNK. Vortrag wurde im Rahmen der Allfacebook Marketing Conference am 6.11.2013 in Berlin gehalten. Weitere Details zur Veranstaltung: http://conference.allfacebook.de/marcon/berlin2013/programm
Visual literacy refers to the ability to understand and create visual representations such as images, videos, and graphics. It involves skills like interpreting visual symbols and media, understanding illustrations and visual data displays, and recognizing how visuals are manipulated. Visual literacy is important for communication, interpreting media, and is used in many fields like design, engineering, and education. Teachers can promote visual literacy skills in the classroom through activities like picture walks, using visual organizers, and hands-on spatial learning experiences.
Visual literacy is the ability to understand and interpret visual images and to communicate using visual forms. It involves developing skills to analyze and interpret images within their cultural context, understand how images are constructed and can manipulate meaning, and produce visual communications. Teaching visual literacy is important because images pervade society and understanding visual messages is crucial for obtaining information and constructing knowledge in educational settings and everyday life. Strategies for developing visual literacy include exposing students to diverse images, teaching them to ask critical questions about images, and providing opportunities for students to experiment with creating and manipulating visual forms using technology.
1. Virtual heritage utilizes virtual reality and mixed reality to represent cultural artifacts and spaces. However, interaction design studies and consideration of end-users are often lacking.
2. Cultural presence refers to a visitor's sense of being in a foreign time or place when experiencing virtual environments related to different cultures. However, virtual places can be highly static and lack meaningful interactions.
3. Evaluating virtual heritage projects poses challenges regarding preservation of content over time and platforms, as well as training staff and users. Museums and cultural institutions are still developing strategies for utilizing augmented, virtual and mixed reality technologies.
ART 1301, Art Appreciation I 1 Course Learning Outcom.docxaryan532920
ART 1301, Art Appreciation I 1
Course Learning Outcomes for Unit I
Upon completion of this unit, students should be able to:
1. Justify visual arts in relation to history and culture.
1.1 Explain public art’s functions.
1.2 Examine human creativity as an inherent trait that inspires the production of art.
3. Interpret artworks using the elements of design.
3.1 Define art as means of visual expression using different media and forms.
3.2 Contrast the ritual, social, and public functions of art.
3.3 Distinguish form and meaning in visual analysis.
5. Recognize an artwork or artist by style and time period.
5.1 Recall the type of art used in individual works.
Reading Assignment
Chapter 1:
The Nature of Art and Creativity
Chapter 2:
The Purposes and Functions of Art
Click here to access the Unit I Video.
Click here to access the transcript of the Unit I Video.
The below link contains an interactive audio that will explain the purpose of art:
Pearson (n.d.). The effects of good government [Audiovisual webpage]. Retrieved from
http://closerlook.pearsoncmg.com/view.php?type=closerlook&id=469
Click here to access the Closer Look video titled “The Effects of Good Government.”
Click here to access the video transcript.
Unit Lesson
Chapter 1: The Nature of Art and Creativity
What is art? Art is all around us. You might have a favorite painting hanging on a wall or even a favorite cup
that you use. The cup may seem like a bit of a stretch, but it is a form of art. It may be mass-produced, but
someone designed that cup. Everyday objects are designed with usability in mind; paintings on the wall are
meant to be visually appealing, and sometimes art is created just to make you think.
UNIT I STUDY GUIDE
What is Art, and How
Does it Function?
https://online.columbiasouthern.edu/CSU_Content/Courses/General_Studies/ART/ART1301/14B/UnitI_Video_CSU.MP4
https://online.columbiasouthern.edu/CSU_Content/Courses/General_Studies/ART/ART1301/14B/UnitI_VideoScript_CSU.pdf
http://closerlook.pearsoncmg.com/view.php?type=closerlook&id=469
https://online.columbiasouthern.edu/CSU_Content/courses/General_Studies/ART/ART1301/14B/UnitI_TheEffectsofGoodGovernmentTranscript.pdf
ART 1301, Art Appreciation I 2
UNIT x STUDY GUIDE
Title
For example, Janet Echelman’s Her Secret Is Patience (page 3 of your course textbook and in the above
image) is a mixed media work of art created from fiber, steel, and light. Commissioned for the city of Phoenix,
Arizona, this public work evokes the color and light of the surrounding desert landscape. Can you imagine the
planning, safety trials, paperwork, and handiwork that went into making this piece? Hearing the public
responses to the work reveals multiple interpretations depending on the viewer’s experience. How do you
view this work?
Individual likes and dislikes of art are similar to preferences and choices in everyday life such as those for
...
The document discusses how visual elements produce meaning in multimedia and multimodal texts. It covers various ways visuals operate, including through artists' work, websites, images in newspapers, and more. It explores concepts like visual critique, semiotics, and how elements like color, fonts and layouts carry meaning. In conclusion, it discusses how visual design is about more than decoration - it can create and manipulate meanings and virtual experiences.
This document provides an overview and introduction to concepts related to cultural practice and new media cultures. It discusses key topics such as the differences between analog and digital media, definitions of culture and new media culture, theories of representation in media, and how to analyze images and representations of culture. Specific concepts covered include virtual reality, convergence, interactivity, and theories from scholars like Manovich and Hall regarding new media and representations.
Extended Context/Extended Media - Class 01 - 2015Bryan Chung
This document provides information about the VASE7200 Extended Context/Extended Media course, including the course website, teachers, schedule, assignments, evaluation criteria, and list of potential secondary supervisors and guest speakers. It discusses the course format, activities, and examples of past student artworks. It also provides an overview of topics that will be covered in the course, such as relational aesthetics, participatory art, information visualization, and tactical media. The document emphasizes exploring art through both its formal qualities and broader contexts.
This document outlines the schedule and content for an introduction to visual culture course. The course will cover topics such as ways of seeing, dominance of images, showing seeing, what is visual culture, art history, art appreciation, connoisseurship and taste, and new ways of seeing. It will examine how images are analyzed in relation to cultural, social, and historical context and how vision is a cultural construction.
Developing the "Other" Literacy: How Visual Arts Have the Potential to Deepen...Paige Vitulli
The document announces an Ireland International Conference on Education to take place from October 29-31, 2012 in Ireland and provides contact information for two organizers, Dr. Susan Pitts Santoli and Dr. Paige Vitulli from the University of South Alabama. It also includes statistics about the University of South Alabama and brief biographies of the two organizers, focusing on their roles and research interests within the College of Education.
This document provides an overview of an art appreciation course taught by Prof. Mukund at SIT Tumkur, India. It discusses definitions of art, including art as creative work done by a person, the creation of beautiful or significant things, and a superior skill that can be learned. It also discusses perception of art and how it varies between individuals. Elements of art like line, color, shape, and principles of design like balance and movement are explained. The document discusses issues in art communication including elements of art, principles of design, creative expression, aesthetic valuing, visual literacy, and artistic perception. Finally, it provides definitions and brief descriptions of different fields within the humanities, including classics, history, languages,
This document provides an introduction to the field of Visual Culture studies. It defines visual culture as everything that is seen or produced to be seen, and how it is understood. Visual culture involves exploring images and visual media from various disciplinary perspectives such as art history, gender studies, sociology, and film studies. Studying visual culture is important because experiences are increasingly visual through screens. It discusses how images are encoded with meaning and how they relate to issues of power and ideology. Visual culture analysis considers the social and cultural aspects of images rather than treating them as natural.
Games as Serious Visualisation Tools For Digital Humanities, Cultural Heritage and Immersive Literacy
Are there social and cultural issues raised by virtual, mixed and augmented reality technologies of particular interest to Digital Humanities researchers? I will also discuss related emerging and merging themes in serious game research and a relatively new concept, immersive literacy.
Prowess-ing the Past: Considering the AudienceRuth Tringham
The aim of this presentation was to shift the focus of 3D modeling in archaeology and cultural heritage to consider the ways in which a more active motivation and engagement of their users (whether professionals or general public) might lead to the long-term sustainability of the models and visualizations. Currently the life expectancy of 3D models in installations or on-line is generally quite short. My argument is that engagement with the models should be measured not so much how many users/visitors a model receives, but in how long and through how many re-visits the users wish to visit the same model. I am guessing that for most users, the visit is a one-time short event. I identify five major strategy foci that might lead to longer and more specific usage of the models and thus to their longer-term sustainability; these are: 1) active user participation, 2) meaningful exploration, 3) cultural presence, 4) multi sensorial experience, and 5) the education of attention, with greatest emphasis given to the latter. I end with idea that these five foci in fact could all be embraced within the gamification of the models, not necessarily as video games, but as media-rich non-linear narratives that go by various terms, such as Walking Simulator, Interactive Digital Stories, and Alternative Reality Games that take advantage of a mixed environment of Augmented and Mixed Reality as well as the more “traditional” Virtual Reality modeling. I finally point out that such gamification could potentially make powerful contributions to draw attention to socio-political and ethical issues of cultural heritage and archaeology.
This document provides an introduction to the elements of art and technology-based art. It discusses five elements of art: value, shape, form, space, and color. It then discusses how technology has influenced art in the 21st century through digital art forms like those created using computers, smartphones, and tablets. Examples of digital artworks and digital artists from different countries are provided. The document emphasizes how modern technology serves as an empowering tool for artists by allowing wider communication, access, and types of art forms. It concludes by discussing the motivated and non-motivated functions that art can serve through the use of elements and principles.
Humpty Dumpty fell from a wall and several men could not put him back together again. Visual literacy is the ability to both understand and create visual media to solve problems and communicate ideas. It also involves understanding the cultural, instructional, and aesthetic value of images. Visually literate students can effectively find, access, evaluate, use, and create visual media while understanding related ethical issues. There are several motivating factors for incorporating more visual media into education, such as flexibility, enhanced learning, and the need to improve students' and citizens' generally low levels of visual literacy.
The document defines visual literacy and discusses its importance in today's visually-focused world. It outlines the history of visual literacy and how the ability to interpret visual messages develops from a young age. It also describes the grammar, syntax and semantics of visual literacy and why teaching visual literacy is important. Specifically, it argues that visual literacy allows people to think critically about images and be less susceptible to visual manipulation. The document provides strategies for promoting visual literacy, including exposing students to varied images, discussing intentionality and manipulation, and experimenting with visual software.
Visual literacy relates to interpreting and creating meaning from graphics and symbols across various disciplines like visual arts, communication, and education. It involves understanding visual representations like illustrations, photos, signs, and diagrams. Visual literacy skills are important for interpreting media, data visualization, and navigating an increasingly visual world. It can be developed by having students analyze images, think critically about visual design elements, and learn to "read" different types of visual formats.
Information literacy in a media-saturated worldPam Wilson
The document discusses the evolving definition of literacy in the 21st century. Traditionally defined as reading and writing, literacy now involves interpreting, understanding, producing, and creating across various media. It examines the skills needed for participation in digital culture, including critical thinking, cultural awareness, technical skills, and the ability to collaborate and share creations online. New forms of literacy allow for both consuming and producing media as members of participatory online communities.
Erik Champion, Curtin University PISA 9 SEPTEMBER 2014
heritage visualisation and serious game design
• major concepts and issues in the field
• learning from game design
• problems that arise when entertainment, heritage,
history and education collide
1. The document outlines learning objectives for a unit on national icons.
2. Students will learn about icons from different countries, how they represent and shape culture, and how icons affect perceptions of a nation.
3. Key skills include researching icons, communicating findings using technology, and working collaboratively.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
BÀI TẬP BỔ TRỢ TIẾNG ANH 8 CẢ NĂM - GLOBAL SUCCESS - NĂM HỌC 2023-2024 (CÓ FI...
The Curious Eye
1. Kimberly Detterbeck
Art Librarian Candidate
Purchase College Library
November 29, 2010
“Every picture has many layers
and many truths. But we know
that behind every image revealed
there is another image more
fateful to reality and in back of
that image there is another and
yet another behind the last one
and so on up to the true image of
that absolute mysterious reality
that no one will ever see.”
- Michelangelo Antonioni, film maker
René Magritte. The Eye. c. 1932/35 . The Art Institute of Chicago.
The Curious Eye:
Understanding Visual Literacy in the Arts
2. “Visual literacy is a set of abilities that enables
an individual to effectively find, interpret,
evaluate, use, and create images and visual
media. Images and visual media may include
photographs, illustrations, drawings, maps,
diagrams, advertisements, and other visual
messages and representations, both still and
moving.
Visual literacy skills equip a learner to
understand and analyze the contextual,
cultural, ethical, aesthetic, and technical
components involved in the construction and
use of images and visual media. A visually
literate individual is both a critical consumer of
visual media and a competent contributor to a
body of shared knowledge and culture.”
-ACRL/IRIG Visual Literacy Standards Task Group
Honoré-Victorin Daumier. The Connoisseur. ca. 1860–65. Metropolitan Museum of Art.
3. Why is Visual Literacy Important?
Giovanni Paolo Panini. Interior of a Picture Gallery with the Collection of Cardinal Gonzaga. 1749. Wadsworth Atheneum Museum of Art.
4. 3 Areas of Competency
1. Image Literacy: the ability to find and analyze
or read images
2. Digital Literacy: the ability to use, handle
and manipulate images
3. Image Composition: the ability to create and
communicate through images
5. Syntax and Semantics
Visual Syntax
Scale
Dimension
Motion
Arrangement
Composition
Balance
Space
Perspective
Size
Color
Light
Tone
Editing
Cropping
Symbolism
Metaphor
Parody
Visual/text relationship
Fore/back ground
Visual Semantics Questions
Who created the image?
At what point of history and in what context was
the image created?
Who commissioned the image?
For what purpose was the image created?
In what context is the image being seen?
Who is the intended audience of the image?
In what form(s) of media will the image be seen?
What has been omitted, altered, or included in
the image?
What does the image say about our history?
What does the image communicate about our
individual or national identity?
What does the image say about society?
What does the image say about an event?
What aspects of culture is the image
communicating?
7. Visual Syntax
Scale
Dimension
Motion
Arrangement
Composition
Balance
Space
Perspective
Size
Color
Light
Tone
Editing
Cropping
Symbolism
Metaphor
Parody
Visual/text relationship
Fore/back ground
Visual Semantics Questions
Who created the image?
At what point of history and in what context was
the image created?
Who commissioned the image?
For what purpose was the image created?
In what context is the image being seen?
Who is the intended audience of the image?
In what form(s) of media will the image be seen?
What has been omitted, altered, or included in
the image?
What does the image say about our history?
What does the image communicate about our
individual or national identity?
What does the image say about society?
What does the image say about an event?
What aspects of culture is the image
communicating?
8. I Like Music Logo(s). Powell Allen, London, England, 2009.
GraphicDesign
9. Visual Syntax
Scale
Dimension
Motion
Arrangement
Space
Perspective
Size
Color
Light
Tone
Symbols
Editing
Cropping
Manipulation
Symbolism
Metaphor
Parody
Visual/text relationship
Fore/back ground
Visual Semantics Questions
Who created the image?
At what point of history and in what context was
the image created?
Who commissioned the image?
For what purpose was the image created?
In what context is the image being seen?
Who is the intended audience of the image?
In what form(s) of media will the image be seen?
What has been omitted, altered, or included in
the image?
What does the image say about our history?
What does the image communicate about our
individual or national identity?
What does the image say about society?
What does the image say about an event?
What aspects of culture is the image
communicating?
10. ArtsManagement
Black Rock Arts Foundation campaign poster to install Raygun Gothic Rocketship at Pier 14 in San Francisco, 2010.
11. Visual Syntax
Scale
Dimension
Motion
Arrangement
Composition
Balance
Space
Perspective
Size
Color
Light
Tone
Editing
Cropping
Symbolism
Metaphor
Parody
Visual/text relationship
Fore/back ground
Visual Semantics Questions
Who created the image?
At what point of history and in what context was
the image created?
Who commissioned the image?
For what purpose was the image created?
In what context is the image being seen?
Who is the intended audience of the image?
In what form(s) of media will the image be seen?
What has been omitted, altered, or included in
the image?
What does the image say about our history?
What does the image communicate about our
individual or national identity?
What does the image say about society?
What does the image say about an event?
What aspects of culture is the image
communicating?
12. 3 Areas of Competency
1. Image Literacy: the ability to find and analyze
or read images
2. Digital Literacy: the ability to use, handle
and manipulate images
3. Image Composition: the ability to create and
communicate through images
13. The Library Playing its Part
• Collections
• Technology
• Pedagogy
Jacob Lawrence. The Library. 1960. Smithsonian Museum of American Art.
17. 3 Areas of Competency
1. Image Literacy: the ability to find and
analyze or read images
2. Digital Literacy: the ability to use, handle
and manipulate images
3. Image Composition: the ability to create and
communicate through images
19. Thank you note in every language. Flickr user woodleywonderworks.
20. Selected Bibliography
ACRL Arts Section / Instruction Section, "Eye to I: Visual Literacy Meets Information Literacy"
(program and virtual poster session), American Library Association Annual Conference 2007,
Washington, DC), http://eye2i.wordpress.com/ (accessed Nov. 28, 2010).
Elkins, James. Visual Studies: A Skeptical Introduction. New York: Routledge, 2003.
Harris, Benjamin R. "Image-Inclusive Instruction," College & Undergraduate Libraries 14, no. 2 (2007):
65-75.
------. "Visual Information Literacy via Visual Means: Three Heuristics,“ Reference Services Review 34,
no. 2 (2006): 213-21.
Hill, Charles A. and Marguerite Helmers, eds. Defining Visual Rhetorics. Mahwah, NJ: Lawrence
Erlbaum Associates, 2004.
Marcum, James W. "Beyond Visual Culture: The Challenge of Visual Ecology," Libraries & the Academy
2, no. 2 (2002): 189-206.
Messaris, Paul. “Visual ‘Literacy’: A Theoretical Synthesis.” Communication Theory, no. 4 (1993): 277-
294.
Nelson, Nerissa. "Visual Literacy and Library Instruction: A Critical Analysis,“ Education Libraries 27,
no. 1 (2004): 5-10.
Prown, Jules David. “Mind in Matter.” In Art as Evidence: Writings on Material Culture. New Haven:
Yale University Press, 2001.
Seppanen, Janne. The Power of the Gaze: An Introduction to Visual Literacy. New York: Peter Lang
Publishing, 2006.
Snavely, Loanne "Visual Images and Information Literacy," Reference & User Services Quarterly 45, no.
1 (2005): 27-32.
Tufte, Edward R. Visual Explanations: Images and Quantities, Evidence and Narrative. Cheshire, Conn:
Graphics Press, 1997.
Editor's Notes
Welcome everyone. I’m Kimberly Detterbeck, a candidate for the Arts Librarian position. Before I start my presentation I just want to extend my gratitude to I just want to thank the search committee, especially Carrie, and all the staff here at Purchase College library for such a warm welcome and their hospitality. It’s a pleasure to be here and to be invited to your beautiful library.
I have been asked to speak on the importance of visual literacy to careers in the visual arts, highlight some of the specific skills students should be acquiring while at Purchase college and discuss in what ways librarians can collaborate with faculty in order to foster the development of visual literacy. Visual literacy has only become a focus of study in the information professions in the last decade. The 2008 Horizon Report, the research efforts of New Media Consortium and Educase, lists four critical challenges for learning organizations in the coming five years. Among them is a call for institutions to "provide formal instruction in information, visual, and technological literacy as well as in how to create meaningful content with today's tools." As art information specialists, we have a skill set that creates an opportunity to be leaders in the area of visual literacy across the disciplines. The call for a focus on visual literacy in higher education or the opportunity "to take a systematic institutional approach to defining core values that include visual acuity alongside the ability to read and write“ affords art information professionals the chance to lead their campus in these efforts. Because visual literacy is a life skill rather than just an academic exercise, it is one of the most important things we can teach students.
Before I delve into describing the individual skills and techniques intrinsic to visual literacy, I want to begin with a brief overview of the visual literacy landscape and offer a definition of visual literacy as that we are all on the same page.
Although “Visual Literacy” was first coined in 1969 by John Debes an employee of Kodak at the time, the term’s definition and understanding has morphed depending on its context. For the purposes of this presentation and how I approach visual literacy in practice, I draw from the working definition as spelled out by the relatively newly formed ACRL/IRIG Visual Literacies Task Group. You will notice that this definition resembles that of information literacy as spelled out by ACRL. Visual literacy can be understood as a form of critical viewing in much the same way as information literacy can be understood as critical thinking
In practical terms this means that to be an effective communicator one should be able to create or select appropriate images to convey a range of meanings from concrete information to concepts and abstract expression, as well as being able to read, interpret and derive meaning from the visual messages created by others.
So now that we have some idea of what visual literacy is, why is it so important? Art librarianship has always been anchored to the visual -- a variety of photographic or other-rendered representations of objects and built environments, most often still images but increasingly more time-based media, 3-D visualizations, and complex graphical works. Visuals are the currency of art education and scholarship. We have addressed the presence of images in our profession primarily through art historical techniques such as close analysis and other forms of systematic looking. This has been adequate for the classroom and the field of art and art history, yet our age calls for a different mode of visual analysis that acknowledges the ubiquity and importance of images in society.
Visual literacy as a field of research, study, and teaching becomes increasingly important with the ever-expanding proliferation of mass media in society. As more and more information and entertainment is acquired through non-print media (such as television), the ability to think critically and visually about the images presented becomes a crucial skill. Using images for research, teaching, and learning has almost become a minimum educational standard. the use of visual media in learning and teaching is supported by research demonstrating that learner preferences and styles can more effectively be addressed and that enhanced learning and retention take place through the use of visual material. Questions about critical thinking skills, evaluation skills, and competencies are being discussed around campus as colleges and universities are grappling with how to teach students of this generation—highly technological, highly visual, and easily distracted by media. Although this presentation focuses on them, we’re not only dealing with traditionally image-intensive patrons in art history and studio art, but with the full array of arts and humanities disciplines as well as emerging populations from all corners of our institutions and surrounding communities.
Therefore, whether image users are coming to the library or departmental visual resources collection for assistance or not, it is going to take an agile team of professional staff to meet the demand for images effectively and to insure that patrons are finding what they need, when they need it, and they can figure out how to use, manage, and preserve images once they have them.
From the definition of visual literacy I presented three areas of competency can be extracted: image literacy, digital literacy and image composition. A visual literate person should satisfy each and all of these competencies to varying degrees depending on their area of specialization and career choice.
In order to satisfy these competencies, a visually literate person must be able to speak in the language of visuals. This is the combination of syntax and semantics. Syntax is the form or building blocks of an image. The syntax of an image can be regarded as the pictorial structure and organization. Some examples of visual syntax include…..
Semantics refers to the way images relate more broadly to issue in the world to gain meaning. In practice visual semantics refer to the ways images fit into the cultural process of communication, which includes the relationship between form and meaning. Semantics could include looking at the way meaning is created through form and structure, culturally constructed ideas that shape the interpretation of icons, symbols and representations and a social interaction with the images. Some questions to ask to develop an understand of visual semantics include.
While syntax and semantics can be studied individually it is important that they are also looked at as they are combined within an image. Any form of literacy but especially visual literacy is not about simply learning a set of fixed skills or rules. As with written and spoken literacy visual literacy differs depending on the context and purpose. Similarly visual literacy changes depending on who is using it and why. Librarians must be aware of the contexts at their institution and know what visual elements and questions to focus on as per the area of the visual arts. For example, lets look at three of the many possible careers a purchase student might be preparing for: art historian, graphic designer or arts manger. a student concentrating on art history with the goal of becoming an art historian or museum curator would focus more heavily on the first competency-image literacy. Analyzing the syntax of images and the ability to interpret the visual signifiers to place images in a historical, cultural and social context, is one of the main disciplines within art history. Lets take jan van dyke’s masterpiece, the arnolfi wedding, as an example.
To intelligently analyze and appreciation this work of art, an art historian needs to decode the syntax of the image, in this case the arrangement, composition of the figures in the fore and back ground, the perspective, and use of light and space and what symbols and metaphors are being communicated. To fully understand the context of the image, an art historian needs to ask themselves a series of questions like …. . Students then must organize their perceptions and thoughts about artwork and translate the experience of artwork into written form.
Graphic designers on the other hand engage more closely with the second and third competencies- digital literacy and image composition. Graphic designers convey a specific message (or messages) to a targeted audience via a combination words, symbols, and images to create a visual representation of ideas and messages. This example of design by the firm Powell Allan communicates its message via different elements of visual language and provokes different questions.
The arrangement of the symbols, how they are manipulated, cropped and edited, the emotions and impressions that colors convey along with the relationship between the visual and the textual are used by the graphic designer to communicate a message to a particular audience.
The work of art managers could align very closely with that of graphic designers. A part of arts management engaging with the financial side of the art industry which includes fundraising research, grant writing, fundraising campaigns, sponsorship, donor development and bequests, and fund management and reporting requirements. This is an example of a work commissioned by an arts manager at the black rock arts foundation to a graphic designer in order to communicate via a contrived image.
The scale. Composition, tone, editing make of the visual syntax of this poster. The creator of the image is not so important to understanding the circumstances surrounding this image as the commissioner of this advertising campaign along with why it was created and who it was created to reach. Although art managers may not be the one actively creating the image, they still need to be visually literate especially in the competency of image communication.
From the definition of visual literacy I presented three areas of competency can be extracted: image literacy, digital literacy and image composition. A visual literate person should satisfy each and all of these competencies to varying degrees depending on their area of specialization and career choice.
Hopefully this exercise reinforced that while grammars of visual literacy may hold true across a number of media, each form of media (painting, sculpture, graphic design, new media, and so on) all have their distinct characteristics, and skills. To produce effective and successful art historians, graphic designers, art managers and one of the many other arts-focused career programs offered here at purchase, our students must be proficient in some combination of these three competencies, placing varying degrees of emphasis on any as it is relevant to the work in that profession.
So where and how does the library fit into this? There are conversations all over campuses and across disciplines about competencies and life-long learning skills that students need that involve understanding the visual world in which they live. I would like to argue that visual literacy is a skill or set of skills that we are uniquely positioned to teach. Visual literacy is a tool for us to prove our value and to become involved in some of these larger, exciting conversations about the future of student learning. We, as art information professionals, have an opportunity to work with faculty and administrators on campus to help teach students about visual literacy in the context of collections, technology and pedagogy
First, we no doubt have the largest number of images in our collections anywhere on campus. Now, it is easy to argue that an even larger number of images exist on the internet, but the librarian should be seen as the conduit to the images found there as well. We need to stake out territory with images and develop the reputation as the image experts on a campus.
One of the important parts of any of the literacies is knowing which resources to use when the time comes to locate information. The resources for visual information are as vast as those for textual. Information professionals need to familiarize themselves with the growing array of resources available to their users.
Image resources can be usefully divided into two different categories: subscription electronic databases, and freely available online resources. Each have distinctive characteristics that are important to understand if you are going to be showing them to patrons.
Image databases: Digital libraries of images with links to scholarly information. One of the most popular such databases is Artstor, curated collections of digital art images and associated data for noncommercial and scholarly, non-profit educational use. Art stor is Quickly becoming one of the more comprehensive resources for visual arts research. ArtStor and the other examples I have listed here, including institutionally specific collections developed and access via an image management system like EmBark that requires institutionally affiliation to access normally provide
Complex searching capabilities made available through descriptive metadata
Almost universally high quality image standards
Restricted access to licensed users only
Online digital collections: The movement toward digitization of rare and specialized materials has provided new ways for users to access those materials freely on the Internet.
A significant amount of the images available via on the open web come from institutions like the Metropolitan, the Library of Congress or NYPL that are making available both textual and visual materials to users. These images, like those found in subscription databases, tend to be a very high quality, have intelligent search mechanisms and reliable metadata. Extreme ease of use makes the Internet continuously viable as an image resource. Open web image resources like Artcyclopedia, google images and flickr are less a place to find ‘scholarly’ visual sources than a user-centered medium to virtually browse for visual inspiration. Care must be taken in regards to image quality, image metadata and copyright of materials used. The search apparti are also varied when using internet image resources. The extremely popular Flickr and Flickr Commons allows for user Indexing via crowd sourced tags and other annotations. Tagging broadens the scope of indexing vocabulary beyond that of professional cataloguers or indexers. Rather than being documentation written by and for experts, tagging is user generated, user-initiated content, representative the relationship that can develop between varying groups of people and collections.
Art librarians and visual resources curators are managers of materials that are actively being used by library users inside and outside the departments of art, architecture and the allied arts. It really is up to us to advocate for the relevance of our own collections, and to legitimize their value along side everything else our libraries offer.
In terms of technology, libraries have a responsibility to be educated about the available technologies to create, organize, store, and share images than anyone else on campus. I’ve included a few of the powerful tools available to visual resource and art library professions such as tin eye a reverse image search engine that creates a fingerprint for images to find where it has been used by crawling the web, or flickr, picnik or shutterfly which can be used to organize and display personalized collections of images.
Many of these tools are web-based and free; they not only allow for easier access to image collections but also are valuable resources to teach the use, creation and manipulation of images as is critical for visual literacy. Our knowledge of these tools and our skills in using them is a value we can bring to campus conversations about new literacies.
Finally, pedagogy involves the combination of our knowledge of image collections and the technology to make the most of how to use, share, organize and access them. We know how images are used to teach. They are used as illustrations and as evidence. We have all been engaged with how to teach with images in some degree, and we can bring that to the table as well.
My experience so far indicates that many faculty and students don’t completely understand (or haven’t taken the time to experiment with) the potential of digital image services that have quality images, detailed descriptive data, and image management and presentation tools bundled together. In my mind, this convergence is what makes educating educators about digital images different from other library resources and requires extra efforts on our part in terms of instruction.
Building reciprocal partnerships and establishing clear communication channels between art librarians, visual resources curators, and the computing staff who are specialists in teaching with technology, designing smart classrooms, and supporting course management systems is crucial— especially natural synergy of the art librarian and visual resources curator working together. In this way, we can maximize campus resources while drawing upon the respected expertise of librarians and the spontaneous front-line services provided by visual resources curators to best serve image users—whether in the arts or humanities or any other discipline.
Many visual resources are available, but some worthwhile collections remain hidden or isolated from potential users. Librarians should facilitate access to these collections by creating easily navigatable library websites and resource guides. Offering workshops to students and faculty on how to use the image databases and resources available via the library is another good promotional tool. Librarians should watch for opportunities to include image related library instruction across disciplines and analyze syllabi to determine where images might enhance student projects.
Finally in describing this position, the art librarian will be one that brings programs and departments across campus together, limited not just to those exclusively in the arts. By establishing myself along with my colleagues in the visual resources department as experts on the tenants of visual literacy and the tools available to aid in its instruction we can reach out to those beyond the arts. Journalists not only need to know how to read photographs but also how to interpret and create visual representations of data in the course of their reporting; The capacities to both understand and generate technical pictures are fundamental to scientific and technological literacy for students at many levels. It has even been suggested that visual literacy be an integral part of the first-year composition course as it can aid students in developing their topics and conveying their ideas. The more we teach the integration text and visuals, the better our students will think, the better they will manage the vast amounts of information produced by our new information systems.
The pedagogical responsibilities of the librarian in terms of visual literacy usually falls within the first two competency I mentioned earlier in the presentation: image literacy which includes search and source-evaluation skills and digital literacy in terms of how to proper cite images when they are used. the content analysis and the creation of images falls more within the domain of the subject.
Patrons need to be able to cite images as effectively as they can cite articles or books.
Because of this, patrons must be able to find image metadata.
Patrons need to know when which resource is appropriate.
Online image search
Electronic databases
CD-ROM compilations
Online collections
Image books
Patrons need to know what to look for to be able to tell if visual information is bad.
Problems finding metadata?
Image not authentic?
Authentic, but not the image expected?
Presentation somehow biased or problematic?
Images are drawn from sources such as museums, archaeological teams, photo archives, slide collections, and art reference publishers
When searching for images, you must keep in mind 3 criteria:
Image quality
Resolution
Fidelity to original image, if reproduced
Determining the quality of image needed
2. Image citation
Does this image need to be cited? If yes, how do I cite it? Where do I find the information needed to create the citation?
3. Visual information
Problems finding metadata?
Image not authentic?
Authentic, but not the image expected?
Presentation somehow biased or problematic?
Luckily the library provides access to ARTstor, an image database that addresses all of these three criteria with a database of over one million images in the arts, architecture, humanities, and social sciences. ARTstor collections comprise contributions from outstanding museums, libraries, photo archives, scholars, artists and artists' estates, and photographers ARTstor collections comprise contributions from outstanding museums, libraries, photo archives, scholars, artists and artists' estates, and photographers Because ARTstor strives to offer relatively consistent image quality across collections independent of the original source media you can be assured that the majority of images you find in artstor of a superior image quality.
Lets jump in and start using artstor to find images. Accessing artstor is easy. Simply click on Art + Design / Art History and then select art stor from the list of resources. If you are off campus you will be prompted to sign in. Enter the database by clicking Go.
As art information professionals, we are in a unique position to educate our users about a vital and necessary skill set, visual literacy, relating to the current age in which we live. We have the background and understanding of visual rubrics as they relate to the fields of art and art history and, as we have outlined here, these rubrics can be expanded to other fields and disciplines. The confluence of our skills, Web 2.0 technologies, and most importantly, a desire on the part of our learners to be active participants in their own learning process, creates an environment where it is possible to imagine "the visual" catching and even eclipsing the textual in the area of information literacy