Images as Information: Visuality Across the University
Extended Course Description
Benjamin R. Harris
Course Description
In a world raining with images, where visual texts abound and become a naturalized and
peripheral part of every waking moment, it is reasonable to expect that we may not be critical
about images in the same ways that we have learned to be critical about written texts.
However, university students are faced with countless activities involving the “reading” and
analysis of information delivered in visual forms, as well as the location and creation of similar
types of texts. In classrooms that are increasingly electronic and arguably “virtual,” scholars like
Jay David Bolter have concluded that “literacy in electronic environments may have more to do
with the production and consumption of images than the reading and writing of either
hypertextual or linear prose.”
We will consider the various constructions of “visual literacy” offered by scholars across the
academic disciplines as we explore the ways that images are used by students and others. How
do images and other visual displays of information communicate messages in a similar or
different manner when compared to alphabetic print texts? How can contemporary
technologies help or hinder the encoders and decoders of visual texts? While we may not be
able to claim that we’ve become “visually literate” by the end of the course, we will develop a
greater awareness of different perspectives on navigating and operating in our never-ending
visual downpour.
This course will also allow you to opportunity to perform and practice a number of faculties that
will be necessary for your success in the university and beyond. Specifically, activities and
assignments will ask you to develop your abilities in a number of areas: (1) critical reading of
alphabetic and visual texts; (2) participating and collaborating in small and large group
discussions; (3) completing various types of writing assignments; (4) creating and making oral
presentations; and (5) locating, using, and citing scholarly and/or popular research sources.
Prephase (August 28-31)
As we start the course, the Prephase will allow us time to review course documents and
introduce ourselves to each other. We will talk about strategies for critical reading, our own
methods for digging into a text so that we can synthesize it, criticize it, question it, and
ultimately, understand it. We will use these strategies, and may borrow new strategies from
other class members, as we read the course texts. We will also consider these strategies as we
conduct critical readings of visual texts.
Phase One: Defining Visual Literacy
In Phase One, we will consider various definitions of “visual literacy” as they’ve been developed
since the coining of the term in the late 1960s. Most of these definitions are tied to academic
disciplines, and may tell us something about the point of a view of the scholars in a particular
field of study. Our goal is not to create or decide on a stipulative definition for visual literacy;
rather, we want to look at this concept from a broad perspective. We want to see “visuality” as
a characteristic of communication that has become increasingly important (and contentious)
within, and outside of, the university setting. To ground our discussions, we will read influential
texts by Plato, W.J.T. Mitchell, and John Berger.
We will extend our work on critical reading of alphabetic texts to consider critical reading of
visual and hybrid texts. Phase One will also include an introduction to research strategies
focusing on the use and citation of reference sources, culminating in the Annotated Bibliography
Assignment.
Phase Two: The Image as Information
For millennia, artists, then photographers, and more recently amateur image authors have
created texts to make us think, make us feel, and at times, to help define themselves in the
context of historic events. Images exist that many of us share as common texts. These famous
works of art and photography transcend their origins and continue to resonate.
Phase Two will challenge us to look at art work and other images as more than pretty pictures.
Our goal is understand how these visuals transmit information. We are looking for obvious as
well as hidden messages and we will dig deep and ask questions about unintentional
communications that occur within and outside of the frame of the image. We will continue our
image workshops from Phase One, and will read work by philosopher Susan Sontag, historian
Nell Irvin Painter, and others, as we look at the information communicated by fine arts images,
images of historic events, political advertisements, and sports photography.
Using discussions, reading, and activities conducted during Phase Two, we will write an Image
Analysis Paper to help synthesize our group and individual insight on the communication of
information through images.
Interphase: Two Options
This week-long “break” between Phase Two and Three will focus on a particular topic chosen by
the class.
Option A: Personal Images and Privacy
We have cameras on our cell phones, attached to our computers, stuck to the sides of buildings--in fact, there are cameras just about everywhere. This facility for creating new images means
that we are taking photographs and constructing visuals at a rate never before seen in our
history, and there is nothing to suggest that this will slow down any time soon.
What are the ramifications of so much picture-taking? What does our self-portraiture with easy
photographic technologies say about us? What information do we communicate when we post
or send images of ourselves? What information do others hope to send? How does this relate
to our ability to lead private personal lives? Is there such a thing as a “private citizen” any
longer?
Option B: The “Black Athena” Debate
In the late 1980s, Martin Bernal argued that the origins of Western culture—often thought of as
originating in Ancient Greece—was actually derived from regions in upper and upper west
Africa. Using mythological and linguistic research, Bernal contended that 17th century writers
and historians removed African and Semitic origins from the historical record. Bernal’s
argument was of great concern across numerous academic disciplines. Some scholars derided
Bernal’s findings, while others encouraged his “gutsy” contentions. Images were frequently
used as reference points during this debate.
This Interphase option will include viewing a documentary about the Black Athena debate and a
discussion on the use of images in the documentary as well as the use of images to persuade
audiences.
Phase Three: Visuality Across the University
In Phase Four, we will focus on a specific type of visual text or visual technology used by scholars
and professionals in the course of their work. After a brief introduction to imaging technologies
used by chemists, lawyers, archaeologists, oceanographers, and philosophers, we will explore a
subject of interest to us and locate an imaging practice that is either (1) currently in vogue
within that discipline or (2) has been important to the development of a body of research over
time. Depending on independent research, as well as course texts and discussions, we will write
an Imaging Practices Research Paper that describes the use of a particular type of image by
scholars and professionals, as well as contemporary/historical methods for creating these
images.
Phase Four: Information as Image (October 26-November 13)
Going back to (at least) the time of the Mayans and Egyptians, we know that information was
sometimes communicated in visual forms because it was the most convenient way of relaying
facts, figures, and more. Today, we still create images that depict information in a fashion that
is easily digested, visually engaging, and persuasive. Phase Three will focus on the “translation”
of information into a visual form. We will draw heavily on Edward Tufte’s work on the history of
this translation. We will also consider Tufte’s critique of PowerPoint and other presentation
technologies as we create slides and other images for use in oral presentation situations.
Drawing on critical reading strategies of both alphabetic and visual texts, as well as the research
conducted during Phase One, we will each have an opportunity to make a presentation that
focuses on the strategies used by a particular magazine or newspaper as they attempt to turn
words into images. The Visual Presentation of Information Assignment may be conducted
individually or collaboratively.
Images as Information: Visuality Across the University
Assignment Descriptions
Benjamin R. Harris
Annotated Bibliography Assignment (10pts)
Using the bibliography for Avgerinou’s “A Review of the Concept of Visual Literacy,” your
assignment is to find 4 book chapters, journal articles, magazine articles, or internet web sites
that create or cite a definition of visual literacy. Read the source and include each in an
evaluative annotated bibliography.
To begin…
A. Choose 4 of the citations in the Avgerinou bibliography to include in your bibliography.
B. Use the “LibGuide” link from the library homepage (it is also available in TLearn) to find the
research guide for our class. This guide offers suggestions for locating resources using the
library.
C. After you have selected, located, and read your four texts, create an annotated bibliography
entry for each text. Each entry should include the following:
(1) a citation of the text in APA format,
(2) a brief summary of the entire text,
(3) the definition of visual literacy that is used in that text
(4) reasoning for Avgerinou’s selection of the source, and
(5) your own evaluation of the source and the definition.
D. As a guideline, each annotation should range between 200 and 300 words in length. Your
final submission should be typed in a standard font. The APA citations should be double-spaced,
but the annotations may be single-spaced. You will receive a model for format before the
assignment is due.
Grading Breakdown:
Source location and selection (3)
Citation Method (3)
Annotations (3)
Mechanics (1)
Image Analysis Argument Assignment (15 pts)
A. Choose a published photographic image that fits into one of the categories discussed during
Phase Two: fine arts images, political images, images of historic events, or sports images.
B. Conduct an independent “image workshop” and write an analysis in which you (1) describe
the image, (2) offer brief background information on the creation of the image (if necessary and
if available), (3) analyze the components of the image (What do we see? What do we not see?
How does this affect the value, importance or relevance of the image?), and (4) explain why the
image continues to be important, relevant, or iconic.
Your analysis should be 4 to 6 pages in length (app. 1100 to 1600 words), cited in MLA style, and
should conform to the rules of the class regarding written work.
Note: Research sources would be necessary to complete component 2 above and the LibGuide
for our course includes suggestions to help you to locate materials. However, since this is an
optional requirement, there are no guidelines for the number or types of sources used. Still,
you should strive to choose the best resources possible. The selection of poor resources can
affect the quality of your analysis.
Grading Breakdown:
Image selection (1)
Quality of analysis (10)
Citation (2)
Mechanics (2)
Imaging Practices Research Paper Assignment (25 pts)
A. Select a discipline or a profession of your interest and locate an imaging practice utilized in
that community. This imaging practice can be contemporary or historical.
B. Conduct library research on the imaging practice. You will want to locate information on
technologies developed to create images and examples of published images used by individuals
in your selected community. You will (1) draft research questions, (2) keep a research log, and
(3) write an abstract of your paper during the research process.
C. Write a 5 to 7 page paper (app. 1350-1900 words) in which you (1) explain the purpose and
use of the imaging practice, (2) describe the origins and/or development of the practice, and (3)
offer 2-3 examples of the practice in context. This paper will be formatted in Chicago notes style
and should conform to the rules of the class regarding written work.
Note: Your essay must cite 5 research sources. However, you must also submit a “Works
Consulted” list that includes a total of 10 research sources that you reviewed in the course of
your research. The purpose of this additional bibliographic requirement is to show that you
were able to select the best and most useful information from a range of sources.
Grading Breakdown:
Topic selection (2)
Research (9)
Quality of description (5)
Selection and use of examples (4)
Citation (3)
Mechanics (2)
Visual Presentation of Information Assignment (15 pts)
A. Individually or in groups of two, conduct invention strategies on a question related to being a
student at Trinity University. It might help to start by thinking about topics of interest to Trinity
students. It would be ideal if you selected a topic on a visual text related to Trinity. An example
of a topic might be related to a particular art work on campus.
B. You may wish to use the online archive of the Trinitonian or the San Antonio Express-News
(online or in print) to develop ideas or background on a topic. Links to these resources are
available on the LibGuide for our class. This information may be useful in your presentation as
well, so be certain make note of sources for your bibliography.
B. Develop a survey question related to your topic. For the example topic above, a close-ended
survey question might be “Do you like the sculpture ‘Rapture’?” You can also have a multiple
choice question if you wish. In addition to the question, you may wish to collect additional data
on the sex, age, university rank, etc., of your respondents.
C. Individual presenters should survey a minimum of 25 students. Collaborators should survey
at least 50 students.
D. After collecting your survey data, create an image that depicts this information. Consider
some of the “best” and “worst” examples from our class discussion, as well as the Tufte reading,
as you create your image.
F. In class, give a 5-7 minute presentation on your question, any background information you
have collected in relation to your question, the process used to collect your data, and the
creation of your two images. Be prepared to answer questions at the end of your presentation.
G. Post your image or presentation slides to the T-Learn site on the morning of your
presentation. You should also post any handouts and/or your bibliography.
H. On each presentation day, every student will use TLearn to respond to at least one of the
presentations.
I. Each presenter will write a one page (minimum) reflection on the process used to complete
this assignment. All reflection papers are due with the final exam for our course.
Grading Breakdown: Topic/Question selection (2)
Survey process (3)
Image Development (5)
Presentation Quality (4)
Reflection (1)