The Importance of Visual Literacy

In today’s society, we are constantly being bombarded with visual art forms. Whether they be classical paintings from the Renaissance, a towering and modern skyscraper, or even a cheesy 90’s R&B music video, they all have one thing in common. According to Carolyn Dean’s definition, these would all fall under the category of “art by intention.” In her essay “The Trouble with (The Term) Art” she advocates a distinction between art by intention and what she deems “art by appropriation.” The difference is that one work was created with the intention of being consumed for visual pleasure, while the other was not. However having been educated in the Western school of thought, many art historians cannot help but project their rigid definition of art onto civilizations that may have

Art has multiple purposes. Some people enjoy art for the emotional engagement they receive while viewing it. Happy or pretty things give us hope; sad things make us feel less alone in our sadness. Other people see art as a way to balance who they are as a human. Where some people see propaganda others see a reminder of what is truly important in life (Schooloflifechannel). No matter what the reason, art is a vital part of the community not easily forgotten. One thing, however, is constantly on the mind of viewers, and that is the question of what each work of art means beyond the superficial, to the language only truly understood by the human soul. Art communicates, not by audible words, but instead by symbols and metaphors that can be so

In a world that has become immune to accepting all types of art, Marya Mannes believes we have lost our standards and ability to identify something as “good” or “bad”. In her essay, “How Do You Know It’s Good”, she discusses society’s tendency to accept everything out of fear of wrongly labelling something as being good or bad. She touches on various criteria to judge art, such as the artist’s purpose, skill and craftsmanship, originality, timelessness, as well as unity within a piece rather than chaos. She says that an individual must decide if something is good “on the basis of instinct, experience, and association” (Mannes). I believe that by using standards and the process of association, we will be able to judge what makes an art piece good in comparison to others. However, Mannes forces me to consider the difference between what may be appealing versus what is actually good, and when deciding which art we should accept, which is truly more important. I believe that “good” and “bad” are two ends of a large, subjective spectrum of grey area. It is possible for a piece of art to be good in some areas and bad in others, and if something does not live up to all of our standards, it does not necessarily mean it should be dismissed. Thus, I believe my personal standards for judging art are based on which my standards are largely based on the personal reaction evoked from a piece of art. Though I agree with Mannes’ standards to an extent, I believe that certain standards, such as evoking a personal response, can be more telling of if a piece of art is good as opposed to its timelessness, or the level of experience of an artist in his/her craft.

It is said that a picture is worth a thousand words, but maybe they are worth far more than that. Pictures, although seemingly simple in nature, are extremely complex. Far too often, people overlook what a picture truly is. When a person looks at an image, they most likely see only the image, nothing else. Many people do not look deep enough into an image to fully comprehend the true meaning of it. However, when an individual begins to truly study an image in an attempt to understand the true complexity of it, they will be surprised at what they overlooked before. As stated by French Realist Painter, Gustave Courbet, “Fine art is knowledge made visible.”

Once a visual learner sees and understands what is being expected of them to understand, they sometimes will have to write or draw it. If they are writing or taking

Over the past few decades, enhancements in the visual fields have greatly improved, giving weight on the importance of visual material in text. Something that is more visually stimulating can usually make a text more convincing or credible. The term “seeing is believing” proves this fact. As humans, we tend to believe something if we can actually see it, which is why Jay David Bolter has referred to this phenomenon of the changed role of text and graphics as the “visual culture” in his book Writing Space. “Mere words no longer seemed adequate; they had to share their space with images.” (Bolter, 69).

I have learnt that as adults, we already have the skills for reading but using illustrations, sounds and words is a multimodality tool. I tend not to use these different strategies and I think at first, this made my writing in Storybird difficult. I had plenty of ideas but had trouble finding images. I learnt children have far more of a free flowing attitude than adults do, and it took me a while to focus on writing around the images rather than finding an image to match my writing. Children already know much about multimodal texts from their home experiences. As teaching assistant’s it is our responsibility to build on these experiences and the children’s knowledge, recognising the relationships between different modes and use this in our teaching. The future of reading and writing is interwoven with the future of digital technology (UKLA 2005).

Both essays focus on children's ability to blend visual drawings and writing and how they interact with one another. In some classrooms young children are being urged to see drawing and writing separately rather than as a unified system of meaning making. Thomas Newkirk makes us think about how pictures relate to language in written texts, and Alexie Sherman explains how he had the help from comic books (graphic novels) and watching his dad's passion for reading help (sponsor) him want to learn how to read. They both believe that visual images communicate meaning. Its not just about the design and creativity but also about how culture and meaning are reflected, communicated and altered by images. This is visual literacy, it involves all the

Visuality, defined in a most straight forward way, is the quality or state of being visual or a mental image or picture relates to the process of glimpsing with the eyes. Even though the term encompasses a broad array of explanation and it conveys different things to different people, it relates with the prism with which people construe the world. It applies to both tangible and intangible and depending on one’s ability to exploit the visual senses. Visuality plays an integral role as a cultural tool in the society. In the contemporary context, it refers to the manner in which people see and how they are seen. However, on numerous occasions, mentioning of the word elucidates the idea of construing contents via media

To begin with, before studying this English module, my skills in presenting information in chart format was insufficient. In this visual literacy assignment, students were evaluated on their ability to interpret illustrations as well as various kinds of data and the presentation thereof in a meaning full way. Compared with the first assignment, I scored the highest mark for this one. However, the course material gave me the much-needed background information on creating a meaningful analysis of vast sets of data. For example, the type of data presented in a pie chart will be different from the data presented in a bar or line chart. This was incredibly beneficial information and provided me a new perspective on the creating of charts. Consequently,

“Some images [visual and multimedia] are so iconic that they become part of our cultural memory.” (Pg.326). Take, as an example, the ALS Ice Bucket Challenge video—an ingenious idea, a powerful visual argument that is spreading ALS awareness nationwide. For the past few weeks, social media have been shown videos of people pouring icy water on themselves for the ALS Association. If, before the video, the image of people throwing icy water on themselves was associated with summer games--or with the hot weather-- now the same image belongs to the ALS Association.

When attempting to convey an idea, one must choose a form of media to express that idea to his or her audience. Depending on the message, some forms of media may be more expressive or accurate than others; however, I argue that the synergetic use of language, symbolism, photography, cartoons, and actions shown in film is the most expressive form of discourse. Furthermore, I argue for a new form of media that would be even more expressive by allowing a creator to make multiple art forms and communication styles that can be presented to the reader in a format that allows for the most idea expression of any previous discourse style in the past. Since many creators’ goals are to express their idea to the audience, it has been historically demonstrated

When most people think about art, the first thing to come to mind would usually be paintings that are hung up in a museum. Unless you really understand the value of art you may not believe me when I say the value of art is essential to the well being of free individuals. This idea can be supported by Bell Hooks story named “ Art On My Mind”.

Even before a young child can read or write they learn the alphabet as the beginning of interpreting the process of reading and writing. Equally a small child can generally recognise popular signs and symbols, such as the “M” for McDonalds or the Coke symbol before they can read. Just as society associates signs and symbols with various meanings, artists convey their thinking, beliefs and feelings to the audience through their works. This can be described as visual language or how images are used to communicate messages. This communication is vital to

For over two thousand years, various philosophers have questioned the influence of art in our society. They have used abstract reasoning, human emotions, and logic to go beyond this world in the search for answers about arts' existence. For philosophers, art was not viewed for its own beauty, but rather for the question of how art and artists can help make our society more stable for the next generation. Plato, a Greek philosopher who lived during 420-348 B.C. in Athens, and Aristotle, Plato’s student who argued against his beliefs, have no exceptions to the steps they had to take in order to understand the purpose of art and artists. Though these two philosophers made marvelous discoveries about the existence of art, artists, and