This paper argues that pedagogic efficacy of multimedia packages (interactive multimedia presentations) cannot be achieved by experimental research in the absence of a detailed pedagogical screenwriting framework. Following a summary of relevant literature, such a framework is offered, consisting of micro-level design guidelines. The guidelines…

Scholars have argued that imprecise data graphics, specifically those displaying decorative dimensionality of data, may lead to inaccurate interpretations. Empirical tests of decorative dimensionality have produced mixed results. The literature also suggests that the effects of decorative dimensionality may depend on the cognitive demand of a…

Visual intelligence is a key element in the thought processes of the most capable and creative among individuals, and this intelligence is closely related to analogical thinking, a learner's ability to make connections between prior knowledge and newly presented information. This article describes an approach to teaching scientific inquiry at…

Three conceptual frameworks for examining the cognitive response to film are reviewed. It is suggested that a phenomenological rather than atomistic conception of the film-viewer interaction will be most useful for the generation of further studies in this area. (Author/RM)

This paper discusses the role of digital technology within the cognitive revolution of the perception of images. It analyzes the traditional values placed on images as a source of cognition. These values are discussed in terms of the ethical and social issues raised by the use of digital image manipulation in so far as the digital era is falsely…

Outlines a study in which television advertising supplied the text that college students were challenged to interpret. Explains that the language and images of this advertising posed a complex, cognitive challenge--even to these students at advanced levels of education. Concludes that information processing of television advertising presents a…

This paper presents a discussion of the use of microcomputers and computer graphics programs as basic design experiences which relate as much to the right as to the left side of the brain. It reviews selected research in art education that shows the importance of the right brain in various areas of creative behavior and in developing drawing…

One theoretical model for understanding the visual event suggests that a visual event has both a surface (descriptive) and a deeper (experience) level of understanding. Both levels are needed to comprehend and appreciate images, with each level affecting the other. A person's perspective is an important part of the visual event, which depends upon…

It is now possible to carry forward the work in visual languaging and visual literacy to create a model for language and for cognition. The central hypothesis is that visual sequences are gradually learned, perceived, and "read" by people, but especially by little children, much as languaging is learned, perceived, and read; the…

This paper synthesizes the implications from hemispheric lateralization studies with the concerns and potentials of visual literacy. An overview of hemispheric lateralization research is provided, including summaries of four illustrative studies: Galin and Ornstein; Levy, Trevarthen, and Sperry; Zaidel; and Molfese. The appositional and holistic…

A test of relative effectiveness of visual and verbal modes of giving instructions. (CH)

A study was conducted investigating whether a sequence of visuals presented in a serial manner differs in connotative meaning from the same set of visuals presented simultaneously. How the meanings of pairs of shots relate to their constituent visuals was also explored. Sixteen pairs of visuals were presented to both male and female subjects in…

After viewing a film, a sample of 10 and 11 year old children completed questionnaires which gave information on their grasp of the film's content, on matching variables, and on design factors. In this way it was possible to examine patterns in the grasp of content and relate them to other variables. (Author)

Discusses the value of making students visually literate. Stresses the technique of visual rehearsal and offers suggestions for incorporating visual rehearsal activities into the classroom. (FL)

The author urges art educators to contribute to holistic education by emphasizing the unique and alternative modes of thinking and acting which are intrinsic to visual arts. He presents two exercises to help students develop a perceptual rather than conceptual or linguistic mode. (Author/SJL)