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Which clippings match 'Multi-modal Design' keyword pg.1 of 1
06 NOVEMBER 2011

Visual Communication in the Teaching of Writing

"Of course, other kinds of assignments involving visuals do occur in college writing pedagogies. Visual analysis (especially advertising analysis) has been commonplace in postsecondary writing instruction for at least fifty years as a part of the post–World War II emphasis on propaganda and semantics characteristic of many composition and communication courses beginning in the 1940s, but that practice did not always or consistently include careful consideration of how images, layout, or graphics actually communicated meaning. Instead, advertising was treated as a subject for critique rather than itself a form of communication that employed both word and image" (Diana George, 2002, p.21).

"If I have given the impression that the media revolution of the fifties and sixties was a tough one for [writing] composition teachers, then I must say here that the world of graphic design, electronic text, and Web technologies certainly will prove even more difficult, though ultimately perhaps more useful for future understandings of composition as design. As with written compositions, Web pages must have an internal coherence; they must, in other words, be navigable. Unlike written compositions, the internal logic of a Web piece is likely to appear first in the visual construction of the page – not only in the images chosen but the colors, the placement of text or links, the font, the use of white space, and other elements linked more closely to the world of graphic design than to composition pedagogy. The work of Anne Wysocki is useful here as she challenges writing teachers to rethink their notions of what composition means – beyond the word and inclusive of the visual. Wysocki writes, 'When we ask people in our classes to write for the Web we enlarge what we mean by composition. None of us are unaware of the visuality of the Web, of how that initial default, neutral grey has a different blankness than typing–paper' ('Monitoring Order'). And whether it is true or not that their teachers are aware of the difference between the blank screen and the blank page, our students are certainly aware of this difference. Many already compose for the Web. Many have worked in the realm of the visual (or the virtual) as constitutive of composing texts of all sorts years before they get to their first–year college courses."

(Diana George, 2002, p.26,27)

Fig.1 Photography: She is Frank, Styling: Tessa O'Connor, Hair/Makeup: Megan Harrison, Model: Bree Unthank @ Giant Model Management [http://wearehandsome.com/a–handsome–project–she–is–frank/]

2). Diana George. "From Analysis to Design: Visual Communication in the Teaching of Writing," College Composition and Communication 54.1 (2002): 11–39.

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TAGS

2002academic writingadvertisingadvertising analysis • Anthony Petrosky • Christine McQuade • communication and composition • complex communication • composing texts • composition as design • composition pedagogy • content analysis • D. G. Kehl • David Bartholomae • Dean Johnson • Deirdre Johns • Delmar George Kehl • Diana George • Donald McQuade • electronic text • Englishes • George Lyman Kittredge • graphic designgraphic representation • Houghton Mifflin • image analysis • image as dumbed-down language • image-as-prompt • image-rich culture • internal coherence • internal logic • James McCrimmon • John Berger • John Hays Gardiner • John Trimbur • Joseph Frank • Lucille Schultz • mass media • materiality of literacy • media literacymulti-modal design • multiliteracies • multiliteracy • multimodal composition • navigable • Neil Postman • New London Group • pedagogypictorial systemspopular culture • Robert Connors • Rudolph Flesch • Sarah Louise Arnold • teaching of writing • technologysaturated • televisiontextual analysis • verbal and visual relationships • verbal communication • visual communicationvisual construction • visual construction of the page • visual designvisual languagevisual literacy • visuality of the web • Walker Gibson • web technologies • William Costanzo • William Hogarth • writing • writing composition • writing for the web • writing teachers • written compositions

CONTRIBUTOR

Simon Perkins
03 JANUARY 2011

In Media Res: collaborative, multi-modal forms of online scholarship

"In Media Res is dedicated to experimenting with collaborative, multi–modal forms of online scholarship. Our goal is to promote an online dialogue amongst scholars and the public about contemporary approaches to studying media. In Media Res provides a forum for more immediate critical engagement with media at a pace closer to how we experience mediated texts.

Each weekday, a different scholar curates a 30–second to 3–minute video clip/visual image slideshow accompanied by a 300–350–word impressionistic response. We use the title 'curator' because, like a curator in a museum, you are repurposing a media object that already exists and providing context through your commentary, which frames the object in a particular way. The clip/comment combination are intended both to introduce the curator's work to the larger community of scholars (as well as non–academics who frequent the site) and, hopefully, encourage feedback/discussion from that community.

Theme weeks are designed to generate a networked conversation between curators. All the posts for theme weeks thematically overlap and the participating curators each agree to comment on one another's work."

(In Media Res: A MediaCommons Project)

TAGS

collaborationcommentarycommunityconceptualisationcritical theorycritiquecuratordigital culture • Digital Scholarly Network • forumin media res • Institute for the Future of the Book • media • media object • MediaCommons • mediated texts • multi-modalmulti-modal designmuseum • networked conversation • New York University Libraries • online community • online dialogue • online scholarship • re-purposerecombinanttheory building

CONTRIBUTOR

Simon Perkins
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