How does a picture teach a viewer to look at it, understand it, and make meaning? (The theoretical basis of this article and elements of its expression have been drawn from Peter Pericles Trifonas. (1998). "Cross-mediality and narrative textual form: A semiotic snalysis of the lexical and visual signs and codes of the picture bnook."…

Fifth graders interpreted the book "Doll Bones" by Holly Black through visual representations from the beginning to the end of the book. Each visual representation was analyzed to determine how students responded. Most frequently, they moved to inferential ways of understanding. Students often visually interpreted emotional plot elements…

This article introduces a novel approach to pedagogy within an art school in the UK HE sector, based upon a synthesis of perception theory and communication theory. It is argued that art students' drawing is empowered by strategies of teaching informed by aspects of James J. Gibson's ecological approach to visual perception relevant to an…

The principles of Hungarian music educator Zoltan Kodaly can be particularly useful not only in teaching children how to read music notation but also in creating curiosity and enjoyment for reading music. Many of Kodaly's ideas pertaining to music literacy have been echoed by educators such as Jerome Bruner and Edwin Gordon, as well as current…

Scholars agree that reading pictures is a multifaceted act. Interestingly, children often look at illustrations more closely and "see" details in picture that are missed by "skipping and scanning" adults. Although the illustrations in picture books are a "source of aesthetic delight," "everything" about the illustrations conveys "information about…

States that by considering necks in a literal sense it may be possible to envision new metaphors for understanding minds, bodies, and ways of knowing. Discusses necks as important signs for such ideas as beauty or fragility. Focuses on views of epistemology, such as the disembodied way of knowing. (CMK)

States that isolation of small portions of life can result in revelation, the power of metaphor occurs when connections are viewed and meaning is derived from the whole, and at times the question of meaning has been translated into a search for order. (CMK)

Focuses on Carolee Schneeman, one of many artists, dancers, and musicians who combine visual art media and methods with dance, poetry, and music. Explains that Schneeman focuses on the body as object and subject and discusses some of her performances. (CMK)

Focuses on the author's "semiotic self" by presenting questions and reflections. Discusses the overlapping groups to which one's multiple "selves" belong. Explains that these groups consist of people who share vocabulary, rituals, and understandings. (CMK)

Introduces a collection of short papers that focus on the body, visual culture, and semiotic awareness. States that the papers ask how do we know what we know, through what filters do we understand, and what codes are used to make sense of the world? (CMK)

States that teachers must "face" themselves in order to encourage experimentation with practices that evoke embodied experiences. Discusses "facing yourself," the process of knowing who you are, who you are not, and allowing for the self-transformation that should follow. (CMK)

Discusses using visual representations of children to help pre- and in-service teachers reconsider the ways they, as adults, relate to children. Focuses on historical depictions of children, images of children from today, and the photographs Anne Geddes. (CMK)

Focuses on three devices (plan, analysis, and context) with which one can consider electronic mail. States that the inequality in "message contexts" (social, mental, and physical) is the problem in electronic mail communication. Offers implications for using semiotics with visual culture in education. (CMK)

Describes an introductory exercise from an undergraduate class taught at the Pratt Institute (New York). Students are asked to move away from their desks to stand in the middle of the classroom. Addresses the students' reactions to moving beyond their normal space in the classroom. (CMK)