Om ‘geletterd’ te wees, beteken letterlik die vermoë wat die mens het om te kan lees en skryf. Dit kan ook op die vermoë dui om tekens, behalwe woorde, te kan lees, nl. gebare en beelde. In die samelewing word die mens vandag aan baie visuele elemente blootgestel, baie meer as slegs die gedrukte woord – in koerante, tydskrifte, televisie, advertensies, spotprente, strokiesprente, musiekvideo’s, die internet, ens. Om visueel geleterd te wees, is ‘n dus ‘n belangrike vaardigheid wat die mens of in hierdie geval, die leerder, moet aanleer om onderskeidend na die visuele te kan kyk. In hierdie opsig lê die verantwoordelikheid by die onderwyser, en in ‘n groot mate die taal-onderwyser om die leerders die vaardighede wat nodig is om krities en denkend te kan waarneem, aan te leer en te ontwikkel. Visuele geletterdheid is dan die vermoë om te sien, te verstaan, om grafies te dink, te skep en te kommunikeer. In hierdie geval sal die visueel geletterde persoon in staat wees om krities na enige beeld te kyk om dít wat die kunstenaar vir die kyker wil deurgee, te kan ontleed en vertolk. Hierdie vaardighede kan deurgaans op die verskillende visuele elemente toegepas word, nl. foto’s, prente, tekeninge, grafiese kunsvorme soos spotprente, strokiesprente en illustrasies, films, kaarte, ens. Al hierdie visuele elemente stel inligting vry wat die kyker moet kan vertolk. Visuele geletterdheid gee dus die kyker die geleentheid om idees en inligting i.v.m. voorgehoue beelde in konteks te plaas en te bepaal of dit geldend is of nie. Visuele geletterdheid vereis meer as een vaardigheid. Soos by die tradisionele geletterdheid waar dit slegs ‘n vereiste is om woorde en sinne te kan ontleed, maar om met begrip te lees, is ‘n verdere vaardigheid wat verkry moet word. Hier help die onderwyser die leerder om nie net woorde en klanke te onderskei nie, maar te verstaan wat hulle lees. Hierdie vaardigheid sluit ‘n breë woordeskat en kritiese denke in. Hiervoor gebruik die onderwyser verskillende strategieë om by sy uiteindelike doelwit uit te kom, nl. om die leerders kontekstuele begrip teenoor dit wat hulle lees, te laat verkry. Die eerste vlak van visuele geletterdheid is die basiese identifisering van elemente in ‘n prent, foto of grafiese uitbeelding. Die vaardighede wat hiervoor nodig is, is fyn waarneming, maar terselfdertyd die begrip van dít wat gesien word ook in verhouding met ander elemente. Dit gee aanleiding tot kritiese denke, wat noodsaaklik vir die leerder is om afleidings en analisering uit die gegewe visuele te kan maak. Dit sal ook vir die leerder help om uit die oorvloed inligting waarmee hy daagliks op webtuistes en tekste wat aan hom voorgehou word en mee gekonfronteer word, betekenis te vind. Uitkomsgebaseerde Onderwys wat ten doel het om kritiese denke by leerders aan te wakker en te ontwikkel, kan die vaardighede in hierdie studie met vrug toepas. ENGLISH : Literacy literally means the ability of a human to read and write. It can also indicate the ability to read and interpret signs other than words - for example actions and images. Today in civilised society, mankind is exposed to a multitude of visual elements, so much more than only the printed word - in newspapers, magazines, on television, in advertisements, cartoons, comic strips, music videos, the internet: - the list is endless. To be visually literate is an important skill that man, in this case the learner, has to master to be able to look at the visual and distinguish differences in meaning. In this regard, the responsibility lies with the Education department and especially the language teacher. Learners have to be taught the skills to evaluate thoughtfully and critically and to be led to the development of this skill. Visual literacy is the skill to see, understand, think, create and communicate graphically. The visually literate person will be capable of assessing any image critically as well as analysing and interpreting what the artist wanted the viewer to know. These skills can be applied to any visual material - photo's, pictures, drawings and graphic art forms like cartoons, comics, illustrations, films and maps. All these visual elements give information that the viewer must be able to analyse. Visual literacy grants the viewer the opportunity to place ideas and information, relating to an image, in context and to evaluate whether those ideas and information are relevant. Visual literacy demands more than just one skill. Like traditional literacy there is one skill to analyse words and sentences and to read with comprehension, an additional skill must be mastered. The teacher helps the learner not only to identify words and sounds, but also to understand what he reads. This competence includes a wide vocabulary and critical thinking skills. The teacher uses different strategies to achieve his ultimate goal - to have learners gain contextual understanding of their reading. The first level of visual literacy is the basic identification of elements in a picture, photograph or graphic image. Here the necessary skills are careful observation as well as comprehension of what is seen in relation to other elements. This develops critical thinking which is essential for the learner to make deductions from and analyse the given visual material. It will also help the learner to make relevant meaning of the flood of information that he is confronted with in cyberspace and visual texts on a daily basis. Outcomes Based Education, which has as its goal the creation and development of critical awareness in learners, can use the skills explained in this study, with great success. / Thesis (DLitt)--University of Pretoria, 2011. / Afrikaans / unrestricted

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Currently, despite the iconographic language be disseminated through images, students in all segments are struggling to read, interpret and correlate images, especially photography, which are constantly used in textbooks, newspapers and magazines printed or virtual. The documentary photography in addition to register important historical moments provides the critical reflection of what is recorded. In this way, it was elaborated and applied a didactic project with students of the 9th year of School Unit Municipal School of Swallow in order to provide visual literacy from documentary photographic images. It was chosen as corpus of research some images/photos of photographer Sebastião Salgado for his work to prioritize a reflection about social ills. The research is based from the grammar of Visual Design of Kress and van Leween (1996) that lists aspects of an image that can be analyzed carefully. Was also of fundamental importance the gender studies of Baktin (2011), Marchuschi (2008), Dionysus (2011), among others. Given this, the present research was used in the first moment of a bibliographical research in order to provide justification for consistent, especially in relation to the semiotic studies with knowledge and deepening of the grammar of visual design (GDV) so that it could analyze the photographs chosen semiologicamente. The second step took place through action research, i.e. the analysis done in the light of the theory was put into practice through the application of lesson plans arranged in a didactic project, which culminated in a pedagogical sketchbook containing simplified explanations regarding GDV and the pedagogical project step-by-step with guidelines for the teacher. / Atualmente, apesar da linguagem iconográfica ser disseminada por meio de imagens, os alunos em todos os segmentos tem dificuldade em ler, interpretar e correlacionar imagens, principalmente a fotografia, que constantemente são usados nos livros didáticos, jornais e revistas impressas ou virtuais. A fotografia documental além de registrar momentos históricos importantes proporciona a reflexão crítica daquilo que é registrado. Dessa forma, foi elaborado e aplicado um projeto didático com alunos do 9º ano da Unidade Escolar Colégio Municipal de Andorinha com o intuito de proporcionar o letramento visual a partir de imagens fotográficas documentais. Foi escolhido como corpus da pesquisa algumas imagens/fotos do fotógrafo Sebastião Salgado por seu trabalho priorizar uma reflexão a respeito das mazelas sociais. A pesquisa está fundamentada a partir da Gramática do Design Visual de Kress e van Leween (1996) que elenca os aspectos de uma imagem que podem ser analisados criteriosamente. Também foi de fundamental importância os estudos de gênero de Baktin (2011), Marchuschi (2008), Dionísio (2011), dentre outros. Diante disso, a presente pesquisa utilizou-se no primeiro momento de uma pesquisa bibliográfica com o intuito de fundamentação consistente, principalmente em relação aos estudos semióticos com o conhecimento e aprofundamento da gramática do design visual (GDV) para que pudesse analisar semiologicamente as fotografias escolhidas. O segundo passo se deu por meio da pesquisa-ação, ou seja, as análises feitas à luz da teoria foram colocadas em prática por meio da aplicação de planos de aula organizadas em um projeto didático que culminou em um caderno pedagógico contendo explicações simplificadas a respeito da GDV e o passo a passo do projeto pedagógico com orientações para o professor.

It is the fundamental insight of phenomenology that meaning is first and foremost - not something which we intellectually reflect on. It is not a product of the mind reworking raw, perceptual experiences. Rather meaning, and our connection to the world, are perceptual phenomena. Thus, to understand the ways in which children find meaning demands a turn toward perceptual experiences - how children see and feel. In this theoretical dissertation, I explore questions of perceptual experiences through a phenomenological framework that I refer to as the perceptual rite of passage (PRoP). The conceptual framework, which centers on attentiveness, labors to help us understand the ontology of perception for preadolescents and how meaning emerges through everyday encounters.

The diploma thesis deals with the influences of different native language and cultural habitus of pupils on their activity in art education. The thesis focuses on the integration of cultural contents in art education without disadvantage of pupils with different native languages. It also describes the educational conditions of these pupils in art education and brings out its specifics and the need for an individual approach. The theoretical part is based on literature and it analyzes broader contexts of the topic, such as the relation of the language, culture and mind, cultural contents in art education, semiotics, visual literacy, or cooperation. The artwork is approached as a mean of communication and art education is considered as a space of communication. Several school situations are described in the research part and the attention is focused on communication and cooperation among pupils who are non-native speakers, their art expression, approach and insight on the tasks. The research is based on the observation of non-native speaking pupils at the primary school. The aim is to find recurring situations in these individual cases and put them in the right context. Thereby contribute to the development of this issue in art education and bring attention to the need for specific educational...

Thesis Abstract The thesis deals with the visual content of the media of official memory, in particular the visual material of history textbooks and the exhibition of the National Museum. It examines the formal and content features of the representation of four key events of modern Czechoslovak and Czech history which entered the awareness of the general public as "eight" events: the founding of Czechoslovakia (1918), the signing of the Munich Agreement (1938), the communist coup (1948) and the invasion of the Warsaw Pact armies (1968). Moreover, it relates the modes of representation of these events to the issue of the political transition of 1989. By means of mixed methods research, it examines a sample of textbooks published during the communist era (1967, 1973, 1982, 1983, 1983), the post-communist era (1995, 1996, 1999, 1999, 2000, 2009, 2011) and the exhibits from the permanent exhibition Crossroads of Czech and Czechoslovak Statehood (opened in 2009). In its findings, the thesis presents 34 visual memory figures related to the representation of the selected historical events. It points out the circulation of these images between the medium of the textbook and the historical exposition, thus following the dynamic concept of memory discussed in the theoretical part of the thesis. It finds both...

This is a study of qualitative method that aims to investigate how compulsory school students perceive the content of Visual Art Education and the relevance of art education. The study is based on empirical methods that consists of semi-structured interviews with a total of 12 students in grades 6 and 9. The theoretical framework of the study is based on a sociocultural perspective which describes that it is through communication and interaction with others that the individual acquires knowledge and skills. The theoretical starting points for the study are supported by the concepts of visual culture, visual literacy and Vygotskijs concepts of creativity and imagination with the assistance of contemporary research that describes the concepts from the perspective of a modern-day society. Furthermore, the study uses the cultural circuit from Hall and photo elicitation from Rose as analytical tool to analyze the participants perceptions about Visual Art Education. The results of my study show that Visual Art Education still represents something that is more similar to a traditional view of artist work, with a focus on techniques and materials. The results also show that the participants perceive Visual Art Education as less important compared to other school subjects and some of the participants don’t think they will benefit from the subject’s knowledge and abilities either in future education, future profession or their private life. This shows the participants narrow view of how abilities linked to visual literacy are relevant in a modern society. The knowledge contribution added to the problem area and previous research is a deeper understanding of how the participants perceive the relevance of Visual Art Education. The study is important and relevant for the teaching profession, as students need to be made more aware of the breadth and relevance of Visual Art Education. From this content it can be deduced that the abilities that students must acquire through visual arts education are about so much more than just drawing. It is also important that teachers gain insight and understanding of how students perceive the relevance of Visual Art Education for them to be able to move forward.

Denna kunskapsöversikt fokuserar på innebörden av visuell litteracitet i bildämnet. Teman som behandlas är synen på visuell litteracitet och dess relation till visuell kompetens, dess kvalitéer samt hur det kan läras ut. Sökningar har genomförts i databaserna ERIC och ERC för att samla ihop artiklar som är peer reviewed och direkt eller indirekt är relaterade till visuell litteracitet. Resultatet presenteras utifrån två teman som berör hur lärare såväl som elever kan arbeta med visuell litteracitet. Därtill läggs ett speciellt fokus på det visuella elementet färg. En slutsats som dras är att visuell litteracitet bidrar med utvecklandet av elevers kritiska och analytiska förmåga då det kommer till bilder som omger dem i samhället. Vidare visar studien hur visuell litteracitet hjälper elever att utveckla empati såväl som hjälper dem i sitt identitetsskapande och framtida yrkesliv. Slutligen betonas det att ytterligare forskning som berör visuell litteracitet och dess koppling till det svenska skolsystemet behövs.

This paper compiles research regarding comics utilised in the visual arts classroom. Our findings are based on numerous research projects demonstrating the positive impact of incorporating comics into the classroom while acknowledging some potential challenges. Some of the history and background of comics will be explored, and we will take you along on our journey through databases full of research and case studies. Furthermore, the studies are sorted in an ascending fashion according to their relevance to this paper. Our goal is to offer insight into the educational potential of comics, drawing from the work of various researchers in the field. The findings show that while some challenges in instruction may occur, comics are a vastly underestimated and overlooked teaching tool in both visual arts and various subjects. The results tell us that comics in the visual arts classroom are filled with opportunities to broaden the bank of knowledge and resources further.

[ES] La imagen ha permeado en nuestro contexto insertándose y explotando en millones de pequeñas pantallas. Dentro de éstas, un ingente flujo constante e inabarcable de estímulos visuales a ritmo acelerado, hace que estemos rodeados por innumerables cantidades de ellas. La temporalidad ahora es inmediata y el espacio, un bucle. Los avances tecnológicos han propiciado una pérdida de corporeidad y un alejamiento de lo que, comúnmente, considerábamos humano. Lo que antes era tangible ahora ha pasado a ser presencia de luz. La superficialidad que ha generado este proceso ha derivado en una pérdida de lo concreto, una dinámica expansiva que ha cambiado nuestro modo de percibir la realidad, haciendo más difícil su concreción, acotación, o simple cognición. En esta era hipervisual, las imágenes son herramientas de dominación y de consumo, a través de ellas se ocupan espacios de visibilidad, se gestionan cánones o tendencias y se ejecutan intereses cruzados. La hegemonía de la imagen nos hace dependientes, nos evadimos y producimos (y nos producimos) a través de ellas. Esta investigación gira en torno a la relación entre imagen, poder y conocimiento, y en cómo nuestra realidad se produce social y estéticamente alrededor de lo visual. Expone planteamientos amalgamando pensamiento, referencias y contexto y reflexiona sobre las nuevas vías y posibilidades que se esbozan en un contexto mediado tecnológicamente. Las imágenes pasan ante nosotros casi sin darnos cuenta y sedimentan patrones, símbolos y significados. Fluctuando entre lo visible y lo no visible, la alfabetización visual evidencia como las imágenes modelan, afectan y manipulan el mundo en que vivimos. A través del pensamiento estético y disciplinas como la dirección de arte, este trabajo pretende desenmarañar el contexto de la imagen actual y hacer accesibles los engranajes de su funcionamiento. / [CA] La imatge ha permeat en el nostre context inserint-se i explotant en milions de petites pantalles. Dins d'aquestes, un ingent flux constant i inabastable d'estímuls visuals a ritme accelerat fa que estiguem envoltats per innombrables quantitats d'elles. La temporalitat és immediata i l'espai, un bucle. Els avanços tecnològics han propiciat una pèrdua de corporeïtat i un allunyament del que, comunament, consideràvem humà. Allò que abans era tangible ara ha passat a ser presència de llum. La superficialitat que ha generat aquest procés ha derivat en una pèrdua del que és concret, una dinàmica expansiva que ha canviat la nostra manera de percebre la realitat, fent més difícil la seva concreció, acotació, o simple cognició. En aquesta era hipervisual, les imatges són eines de dominació i de consum, mitjançant les quals s'ocupen espais de visibilitat, es gestionen cànons o tendències i s'executen interessos creuats. L'hegemonia de la imatge ens fa dependents, ens evadim i produïm (i ens produïm) a través d'ella. Aquesta investigació gira entorn de la relació entre imatge, poder i coneixement, i en com la nostra realitat es produeix socialment i estèticament al voltant d'allò visual. Exposa plantejaments amalgamant pensament, referències i context i reflexiona sobre les noves vies i possibilitats que s'esbossen en un context mediat tecnològicament. Les imatges passen davant nostre gairebé sense adonar-nos-en i sedimenten patrons, símbols i significats. Fluctuant entre allò visible i allò no visible, l'alfabetització visual evidencia com les imatges modelen, afecten i manipulen el món en què vivim. A través del pensament estètic i disciplines com la direcció d'art, aquest treball pretén desembullar el context de la imatge actual i fer accessibles els engranatges del seu funcionament. / [EN] The image has permeated our context, inserting itself and exploding on millions of small screens. Within these, a huge constant and unfathomable flow of visual stimuli at an accelerated pace, means that we are surrounded by innumerable amounts of them. Temporality is now immediate and space, a loop. Technological advances have led to a loss of corporeality and a distance from what we commonly considered human. What was previously tangible has now become a presence of light. The superficiality that this process has generated has resulted in a loss of the concrete, an expansive dynamic that has changed our way of perceiving reality, making its concretion, delimitation, or simple cognition more difficult. In this hypervisual era, images are tools of domination and consumption, through which spaces of visibility are occupied, canons or trends are managed and crossed interests are executed. The hegemony of the image makes us dependent, we escape and produce (and produce ourselves) through them. This research revolves around the relationship between image, power and knowledge, and how our reality is socially and aesthetically produced around the visual. It exposes approaches combining thought, references and context and reflects on the new paths and possibilities that are outlined in a technologically mediated context. The images pass before us almost without realizing it and sediment patterns, symbols and meanings. Fluctuating between the visible and the invisible, visual literacy shows how images shape, affect and manipulate the world in which we live. Through aesthetic thought and disciplines such as art direction, this work aims to unravel the context of the current image and make the gears of its operation accessible. / Aragó Miñana, MDM. (2023). Abrir la visión. Lo dado y lo posible: análisis, posibilidades y porvenir. La alfabetización para la imagen actual y futura [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202192

This dissertation highlights general problems of formation of visual literacy of the audience of contemporary art. The object of research is visual literacy in field of contemporary art. The subject of the research is problems of formation of visual literacy of the audience of cultural phenomenas. In the study of foreign and Russian experience in formation of visual literacy of the audience of contemporary art the author came to the conclusion that considerable role is played by comprehension of contemporary art as a specific socio-cultural phenomena, that determine necessity of the complex approach, that is based on communicative potential of contemporary art. / Данная диссертация освещает проблемы формирования визуальной грамотности зрительской аудитории современного искусства. Объектом исследования является визуальная грамотность в области современного искусства. Предметом исследования диссертации стали проблемы формирования визуальной грамотности зрительской аудитории объектов культуры.