Provides evidence of the devaluation of visuals in technical communication courses and also that pedagogical materials on visuals are at odds with current rhetorical theory and are increasingly anachronistic in the computer era. Discusses implications of the computers' impact for visual instruction and presents suggestions for future directions in…

Aesthetic perception must be taught if we expect students to use it. Within a given society, the creators and viewers of art are socialized to more or less agreed upon aesthetic codes and conventions. (Author/RM)

Presents a model for systematizing the relationships between core content and educational objectives in British art and design classes. The model shows how the expressive, perceptual, analytic and cultural domains of art and design education are interrelated. Available from Carfax Publishing Company, P.O. Box 25, Abingdon, Oxfordshire OX14 1RW…

Analysis of data from cooperative education students revealed a high probability that students would participate in co-op work tasks that develop general education skills in communication, visual literacy, and critical thinking. The ability to use these skills in practice is a significant outcome of cooperative education. (SK)

Analyzes how a young child made sense of the stories she watched on video. Discusses how she used what was "at hand" to represent and re-represent the world; how she used repeated viewings to make sense of screen codes and conventions; and how initially watching a video in the company of an adult offered guided participation around televisual…

In an instructional message the contextual dominance is most often conveyed in the form of printed or spoken sentences. Within any sentence used in conjunction with a picture are nouns or phrases that directly relate to contextual elements within the picture. These are called referents since they refer to objects perceptible in the picture. This…

This paper suggests ways in which video can be used in teaching college literature and cinema courses in order to promote audiovisual literacy. The method proposed presupposes an approach to narrative through narratology, the discipline that examines texts of narrative fiction as narratives, irrespective of their mode of manifestation (verbal,…

Evolving from concern for the increasing requirements for literacy, especially visual literacy, the purpose of this study was to determine the impact of color on learning. Sixty midwestern college students were assigned to groups where they read and studied a graphic presentation, and then were tested on their recall and retention. The following…

Film and writing each resolve quite differently the problem of how to communicate. Still, film can demonstrate some underlying principles that are helpful to writers, especially those writers lacking understanding or skill in certain writing principles. There are at least five principles that both film and composition portray: the importance of…

Bound in a slipcover rather than in signatures, this "book" is made up of thirteen separately bound booklets. The first booklet is an introduction to the use of film in the classroom both in teaching the filmic art and in increasing the visual literacy of students on the high school and early college levels. The twelve other booklets each treat a…

Children at the preoperational and concrete operational levels are influenced by a variety of perceptual cues other than subject matter when classifying paintings. While younger children had little difficulty in classifying paintings done in three stylistic categories, older children were able to perform this task with significantly greater…

This guide accompanies "Special Effects," a 40-minute IMAX film and "Special Effects II", a multimedia, interactive traveling exhibit designed by the California Museum of Science and Industry. The exhibit focuses on the underlying scientific and technical processes of special effects from the earliest motion picture to state-of-the-art digital…

An argument for increased attention to visual literacy, both as a research topic and in the classroom. (RL)

Argues for the use of film in composition classes. Provides a system of inquiry for students that is both dialogic and generative, one that enables them to critique movies and see them not as a repository of ideologies and values but as an apparatus for producing meaning. (TB)

Describes a college teaching experience in which active visual analysis (hands-on deconstruction of visual statements to their constituent elements and principles) had an unblocking effect on concomitant writing assignments. Suggests that students can improve both verbal and visual articulateness when modes of perceiving and thinking are used…