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This primer is designed to teach students the interconnected arts of visualcommunication. The subject is presented, not as a foreign language, but as a native one that thestudent "knows" but cannot yet "read."
What does it mean to be visually literate? Does it mean different things in the arts and the sciences? In the West, in Asia, or in developing nations? If we all need to become "visually literate," what does that mean in practical terms? The essays gathered here examine a host of issues surrounding "the visual," exploring national and regional ideas of visuality and charting out new territories of visual literacy that lie far beyond art history, such as law and chemistry. With an afterword by Christopher Crouch, this groundbreaking collection brings together the work of major art and visual studies scholars and critics to explore what impact the new concept of "visual literacy" will have on the traditional field of art history. Contributors: Matthias Bruhn, Vera D√ľnkel, Jonathan Crary, Christopher Crouch, Peter Dallow, James Elkins, Henrik Enquist, W.J.T. Mitchell, Richard K. Sherwin, Susan Shifrin, Jon Simons, Barbara Maria Stafford, William Washabaugh
The authors' teaching methods focus on personal and innovative thought in visual problem solving with technical facility being achieved as a by-product.
Both a primer on visual language and a visual dictionary of the fundamental aspects of graphic design, this text deals with every imaginable visual concept, making it an indispensable reference for beginners and seasoned visual thinkers alike.
Teaches educators how to help their students develop skills in interpreting photographs, charts, diagrams, figures, labels, and graphic symbols. --from publisher description
How do pictures--both moving and still--create for us an almost palpable world of objects and events? With this question in mind, Paul Messaris analyzes the process by which people interpret and respond to visual media (movies, TV, photographs, drawings, and the arts) and discusses the social and political agendas that may underlie the use of visual manipulation.

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