Visual Strategies in (Visual Arts) Education: A Critical Perspective on Reading and Making Images (original) (raw)

TRACES: Visual Arts Education in Sweden-Editorial

Images, 2020

EDITORIAL Tarja Karlsson Haikio & Annika Hellman TRACES Visual Arts Education in Sweden Introduction This special IMAG issue, Traces – Visual Arts Education in Sweden, is published by members of InSEA Sweden, and include 20 visual essays and articles. The aim of this publication is to map the field of Swedish visual arts education by describing, exemplifying and discussing some of the issues relevant in current visual arts education, also of interest to the international art educational field. The InSEA members who are contributing with their work are visual arts teachers in elementary and secondary school, art pedagogues in preschools and museums, doctoral students and researchers in universities, from the far north to the south of Sweden. In this issue of IMAG the content and the current national visual knowledge field is divided into five themes: Environment & Sustainability, Educational projects, Art & Museums, Gender perspectives and Teacher Education. Through the themes, the r...

Developing Visual Literacy Skills in Teacher Education: Different Ways of Looking at the Visual Images

Educational Policy Analysis and Strategic Research, 2021

This article attempts to use different ways of looking that help classroom and visual art teachers analyze the meanings attributed to visual images, thereby enhancing their visual literacy skills. In the study, holistic multiple-case sampling was employed in the context of case study method as each group of teachers was individually considered as an analysis unit and their analysis of visual images through different ways of looking was evaluated in a holistic way. The participants of the study comprised of a total of 508 teachers who attended teacher training workshop of the Project titled ‘The Implementation of Visual Culture Theory on Primary and Secondary Visual Arts Courses.’ The data were collected with worksheets, artistic drawings and participant diaries and analyzed inductively. The data were presented in three themes: analyzing visual elements, approaching the visual contextually, and determining the contributions of visual experience. The results denoted that classroom and visual arts teachers interacted with images through a series of questions related to different ways of looking at visual images, questioned visual representations, artistic components and sub-meanings and created various meanings in terms of social, economic, psychological, and cultural contexts, thereby increasing their visual literacy skills.

The Educating Role of Visual Arts

Revista VIS: Revista do Programa de Pós-Graduação em Arte, 2016

This article discusses contemporary visual arts education current changes. Visual Arts Education is frequently underestimated by most European Curriculum which often gave and still gives priority to other knowledge areas. Nevertheless, culture industries like museums and a wide range of culture and social organizations are doing the opposite, leading visual art education to an increasingly dissemination, even if it is always less than we all expect. This article also focus on a current shift and which seems to be a kind of paradox: visual art education services from alternative culture institutions are becoming integrated on school activities. By recognizing Visual Art Education Value, culture institutions are trying to develop different approaches in order to engage visual arts with communities. By informing and promoting creative thinking, they are trying to reach community involvement and, consequently, breaking down barriers when necessary. In a more and more globalized world, it is urgent to rethink culture, ethnical, social, economical and political diversities and here is where visual arts education can become a more active player. Art always allowed man to create different worlds in our world as Nelson Goodman affirmed. By creating new worlds, art offers possibilities on new world perspectives and therefore it also might make possible a great miracle, which is the possibility of changing into a better world! Isn´t that what next Documenta 14 is doing? Documenta 14, Kassel, considered the world's largest and most prestigious exhibition of contemporary art, will be held in Athens, Greece, and Kassel, Germany, under the following theme: Learning from Athens. Both-visual art education and contemporary art-seem to share this wish and determination in changing to a better world by implicating local, national and international community. And Art always seemed to be a great `educator´ throughout mankind history.

From Visual Literacy to Critical Visual Literacy: An Analysis of Educational Materials

English Teaching Practice and Critique, 2011

This article discusses differences in purpose, orientation and method between what is commonly known as "visual literacy" and what is being called "critical visual literacy". It does so through a comparative critical analysis of two sets of materials produced for classroom use: those produced in 1993 under the umbrella of visual literacy and those produced in 2011 under the umbrella of critical visual literacy. Through an examination of different approaches to context, semiotic choice and authorial discourse in the development of the material, the article shows the distinctive nature of critical visual literacy -its emphasis on the positioned and positioning nature of visual texts, on the socio-political consequences of semiotic choice in visual texts, and on reading against rather than reading with the visual text.

Visual culture in the classroom

Australian Journal of Teacher Education, 2008

The visual aspect of classroom culture is becoming more important because students now have much greater access to the means of producing, viewing and manipulating images. Using a framework adapted from Foucault and taking a myth-making position, this paper puts forward six propositions as means of explaining how images in the classroom might be read. Theory relating to this emerging literacy is further explained through reference to three dominant classroom narratives. It is argued that the interesting elements of an image are often those that link the classroom metanarratives to wider, hegemonic concerns. Interesting research directions are proposed throughout the paper. The visual has risen steadily in importance in our culture. The presence of visual images has progressed from the high art of the painting through various media such as still photographs, broadcast free and pay television, VHS video, video games, digital versatile disc (DVD) and Blue Ray® until it is now a commonplace attribute of popular culture. This progression has been inexorable. The increasing availability of various technologies has led to a similar increased presence of the visual in schools. These technologies give teachers and students easy access to the means of production and manipulation of images in their classroom. We are all aware of Generation Y and its reputation for proficient use of technology. It is not surprising that this generation expects technology to be part of its learning. This generation is now in the last stages of its schooling and the members of the generation following are often referred to as 'digital natives'. The term is being applied to individuals who have grown up immersed in technology. Prensky (2005) claims to have coined the term. He states: Our students … are so different from us that we can no longer use either our 20th century knowledge or our training as a guide to what is best for them educationally. They are native speakers of technology, fluent in the digital language of computers, video games, and the Internet. (p2) The digital native's easy use of new technologies, all of which are capable of handling digital images, makes it imperative for educationists to start to deal with the issue of how to teach students to 'see' these images, how to 'look' at them and how to 'read' them. While these issues are not necessarily new, and are often part of courses dealing with visual literacy, they are becoming increasingly relevant to the current generation in schools. This paper is an attempt to conceptualise part of an emerging literacy that is about dealing with images, combinations of images and words and combinations of words, images and sound. The paper seeks to develop an understanding of images in the classroom culture and how they can inform the making of meaning. This is an important topic as this emerging literacy is part of a changing visual classroom culture. Culture and classrooms Before conceptualising the use of images in the classroom and its effect on classroom culture, it is necessary to clarify what is meant by "classroom culture".

"THE VISUAL CODE": EDUCATING IN AN AGE OF VISUAL CULTURE

M. Carmo (Ed.), Education and New Developments 2023, Vol 1 (pp. 115-119), 2023

Over the past two decades, we have been witnessing a veritable revolution in the ever-expanding visual and material culture studies. As a result of technological advances, visual texts have become the most common carriers of information and meaning as well as shapers of people's perception of reality throughout the world. To keep up with these current and future changes, new tools of visual literacy and critical thinking are needed for teachers and educators. We argue that implementation of such tools in teacher training programs, across all disciplines, is extremely important and can be used as catalyst to foster critical thinking processes and promote active and relevant teaching and learning. Moreover, with our unique approach, we offer a much-needed innovative perspective towards new and expanding visuo-material disciplines ranging from the myriad venues of design, through architecture to visual communication. Our study presents a tool developed for Design and Visual Culture curriculum taught in more than 250 high schools in Israel. This tool, we call "The Visual Code" aims to cultivate skills of deciphering visual codes through diverse visual texts. Our approach surpasses the classic and somewhat redundant focus on Art History and allows a much broader understanding of our visuo-material surroundings, ranging from smartwatches, through buildings and urban settings, to websites, apps, and digital service platforms. We suggest observing this rich world through three prisms, suitable for different types of training: semiotic observation, suitable for teaching an training students, teachers (on and pre-service) and pupils of all disciplines; hermeneutic understanding, triggering deeper observation, suitable for those specifically engaged in visual studies, such as art and design; and in-depth phenomenological interpretation suitable for practitioners, experts, and researchers in the various fields of art and design. During our research, qualitative questionnaires, and activity, as well as visual content analyses will be used in classrooms, teachers’ development courses as well as some academic courses to evaluate the impact of this tool on classroom discourse and learning processes.

From visual literacy to critical visual literacy: An

2011

Visual culture as a strategy of reflection in education

Nordisk Pedagogik, 2004

Buhl Mie, 2004: Visual culture as a strategy of reflection in education. Nordisk Pedagogik, Vol. 24, pp. 277–293. Oslo. ISSN 0901-8050. Visual culture is an issue in the current research field of visual arts education. This article investigates how the emergence of the concept of visual culture comes about and how it is usable in an educational context. From a system theory approach, the author investigates how the concept of visual culture articulates a phase of art and visual arts education. This phase makes it possible to reconsider the concept of aesthetics as a mode of cognition. Likewise, the phase reflexively constitutes a viewing on visual phenomena. This viewing requires a reconsidering of the notions of what art education means and how visual culture can be performed as a special approach to all areas of education.

LAVEN_STANGL-ZNANSTVENA MONOGRAFIJA 2016_Visual Literacy.pdf

METHODS OF TEACHING AND LEARNING IN THE FIELD OF BILDLITERALITÄT / VISUAL LITERACY ABSTRACT In this paper, that addresses different methods of teaching and learning in the field of Bildliteralität, the experiences with competence orientated art education are in the mainframe of research. The goal is to get more detailed information about the specific teaching-learning interaction by using the model of competence orientated visual literacy (according to the European Guideline CEFR_VL). The setting of a task in the process of the creative work within the parameters of visual literacy is a major issue. One of the research goals was the process how the children would appropriate professional, personal social competencies. These teaching-learning processes were supposed to be discussed later on in the discourse of art education. The ongoing inquiry started in 2014/15. Up to now the location of the inquiry were two classes in a viennese primary school (age bracket 6-9 years). The frame of reference was multilingualism. The choice of the schools corresponded to socio-economic and socio-cultural circumstances. Using art specific didactic methods under the mainframe of the competency model were supported by documenting and interpretating. Qualitative research methods (participating supervision, interviewing, photo- and video documentation, phenomenological analysis, case study) were used to get a larger context how visual literacy methods are positioned in art education. Within the span of a few weeks time up to the period of several months the tasks brought little by little the addressed competencies to light. It is helpful using the competence-orientated model of visual literacy within an artistic setting of serial tasks rather than analysing a single task. But ist demands a larger amount of time to make competencies accessible by acting in the artistic field. KEYWORDS: Bildliteralität, Visual Literacy, Teaching-Learning Methods, Creativity, Competence orientated Learning, Assignment of tasks

Visual Strategies in (Visual Arts) Education: A Critical Perspective on Reading and Making Images (original) (raw)

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