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Visual Literacy and Library Instruction: a Critical Analysis By Visual Literacy and Library Instruction: A Critical Analysis By Nerissa Nelson University Library Abstract This paper discusses the concept of visual literacy and its implications for librarians teaching information literacy components. The author concludes that, while visual teaching methods should be incorporated in library instruction, teaching visual literacy competencies is most effectively done in connection with disci- pline-specific content and thus falls outside librarians’ role. Introduction In our fast-paced era of media blips and Visual literacy is not necessarily a “new” con- bytes, visual images and symbols have now cept, but it has transformed into a more for- more than ever an immediate and frequent malized area of study in both the K-12 envi- presence in our culture. Technological ad- ronment and higher education. From a theo- vances resulting in new media types have retical perspective, visual images and sym- dynamically altered traditional modes of bols have become so integrated and impor- communication. Choices for producing and tant in our social structure and identity that consuming information are vast, and formats understanding the effects of our image-rich from standard text to graphical interfaces, world has resulted in a new field of study in digitized images, streaming video and hyper- academe: Visual Culture Studies (Walker & media have created a complex and layered Chaplin, 1997). On a more practical level, vis- system of information flow. ual literacy has become part of the curriculum by virtue of technology-enhanced resources, Information is no longer bound by text or sim- thus expanding the range of visual teaching ple illustrations since technological innova- tools with graphics, videos or web sites being tions have created a rich visual culture, im- incorporated into classroom lectures and li- pacting business, education and social envi- brary instruction (Wiley & Hemmerich, 2003). ronments (New London Group, 1994; Walker While, traditionally, librarians have dealt pri- & Chaplin, 1997). Making sense of visual im- marily with text-based information, recent ages and symbols requires more than just changes in technology have led to a gradual passive observation, but rather a new compe- shift. With images and symbols playing an tency - visual literacy - to understand, analyze increasingly important role, and with educa- and "read" the essence of these images tors calling for the development of visual liter- (Abilock, 2003). “Reading” visual images in acy, librarians need to ask what their role this sense also requires “integrating other should be in all of this. Just as various facets sensory experiences” according to the Inter- of literacy, such as information literacy, have national Visual Literacy Association (IVLA). It been of concern to librarians, should librarians is quite clear that as technology becomes now get involved with the newly emerging “obsolete, evolves and expands,” the increas- area of visual literacy, and what should be the ingly intricate visual world demands a skill to nature of such involvement? While this ques- interpret these messages beyond sheer ob- tion raises a number of issues, the purpose servation (Walker & Chaplin, 1997). here is to provide a broader perspective from ________________________________________________________________________________________________________ Education Libraries Volume 27, No. 1 Summer 2004 5 which to launch a discussion of the librarian’s use symbols to express meaning (visual role with respect to the increasing importance communication). of visual literacy. Specifically, this article fo- cuses on two questions: First, should librari- Marcum (2002), a scholar in the library and ans be involved in teaching visual literacy? information science field, takes a more far- Second, should librarians tailor instruction reaching view of visual literacy. He challenges toward visual learning styles? the library profession to move away from the “information-processing paradigm” and to What Is Visual Literacy? consider a visual ecology system that he de- fines as “a comprehensive and continuous Attempts to define visual literacy in more participatory event, a universe of action, and a depth are made difficult by the lack of an ac- world of knowledge and learning rather than cepted definition among experts. While defini- of information transfer” (p. 189). In simple tions of visual literacy do exist in the literature, terms, Marcum suggests the profession re- the meaning varies depending on the context think its current “text-based” philosophy and in which it is grounded. move toward a new system that is more grounded in the visual and interactive tech- One recent study attempted to arrive at a nologies of today. definition of visual literacy by surveying ex- perts in the field (Brill, Kim & Branch, 2001). It is clear from these few examples that visual While the responses to the survey were not literacy carries different meanings depending conclusive, they led the authors to suggest on the contextual framework. Despite these the following consensus definition. Visual lit- variations, and for the purpose of this article, eracy encompasses a … visual literacy in its broadest sense will be group of acquired competencies for inter- understood as the processes by which images preting and composing visible messages. are constructed, organized and expressed to A visually literate person is able to: (a) communicate meaning, as well as the compe- discriminate and make sense of visible tencies associated with these processes. Be- objects as part of a visual acuity; (b) cre- fore discussing whether librarians should be ate static and dynamic visible objects ef- involved in visual literacy it is important to look fectively in a defined space; (c) compre- at how competency in this area is taught. hend and appreciate the visual testa- ments of others; and (d) conjure objects in How Is Visual Literacy Taught? the mind’s eye. (p. 6) Teaching visual literacy goes beyond learning Working from the premise that visual literacy a specific set of skills, but it is rather a social is a group of acquired competencies, practice that looks at how images are created Eisenberg, Lowe and Spitzer (2004) briefly and communicated (Bamford, 2003). Images discuss visual literacy from a larger framework are forms of visual communication repre- familiar to the library profession – the re- sented in any medium, such as film, televi- search agenda for library instruction and in- sion, advertising, digital images, graphic- formation literacy, published by the Associa- enhanced designs or photographs to name a tion of College and Research Libraries few. Students develop visual literacy as they (ACRL, 2000). The research agenda outlines engage in the study of images or objects for research questions related to instruction in their form, structure, symbols, cultural repre- academic libraries. Based on the ideas of sentation and social interactions (Bamford; Moore and Dwyer (1994) and Wileman Messaris, 2001). The implications of teaching (1980), Eisenberg, et al, regard visual literacy visual literacy, as expressed by Bamford, in- as a core model comprised of three main con- clude the development of critical thinking cepts: visual learning, visual thinking and vis- skills, understanding image and manipulation ual communication. They further describe techniques, examining design principles, and these three concepts as the ability to con- analyzing embedded codes and conventions struct meaning from visual experiences (visual within images. learning), organize information based on the composition of images (visual thinking), and There are numerous examples of how visual literacy has been integrated into curriculum _____________________________________________________________________________________________ Education Libraries Volume 27, No. 1 Summer 2004 6 models in both K-12 and higher education many of the practical functions within these environments. Paul Messaris, a leader in the models overlap - regardless of how the term field of visual education, uses film making to has been “repackaged” in the profession. get students to think about how subjects and images are portrayed and if these representa- Despite the relative ease with which informa- tions are contrived, manipulated or real. He tion is now available online, the complexity of finds this technique effective in examining the technology makes library instruction far from process of visual literacy from both the con- obsolete. Interfaces change, databases ap- sumer and producer perspective. The implica- pear (and sometimes disappear), journals are tions for visual literacy, he says, become an discontinued or no longer available online, active process where students “…move be- and new meta-search facilities are introduced yond the use of visual media as simple ‘win- which still do not cover all information dows on reality’ to an actively oriented visual sources. Students struggle to sift through this education” (Messaris, 2001). “stuff” trying to make sense of it all so that they can get the information needed for their Another example of teaching visual literacy is paper, presentation or exercise. Serving as George’s (2002) composition class using “vis- partners, supporters or collaborators with fac- ual arguments” in place of the traditional writ- ulty, librarians respond to this situation by ten paper. She assigns a “visual argument” teaching technical skills and evaluative com- based on course readings. Although the ar-
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