A Visual Literacy Walk:

By Barbara Seels and Joanne Dunn

A s instructional technologists we often forget that it's not just a matter of cre- ating a learning environment; rather it's a matter of teaching students how to use many environments for learn-

ing. We may also forget that a store of concrete images is basic to success in most learning en- deavors. The ability to use imagery in many ways--for remembering, for manipulation, for transformation--enhances a student's ability to learn. As we surround the student in a cocoon of equipment and a cloud of software, let's remem- ber that there are real and valuable experiences outside of these controlled settings.

If our field is a collection of equipment used for the betterment of students, then we need not con- cern ourselves with visual awareness or reflectiv- ity. On the other hand, if our field is the applica- tion of visual processes in learning, then it is es- sential that we develop the ability to use environments to generate ideas, especially natural environments.

Ansel Adams was not the first photographer to focus on the natural world. But he was one of the first to move away from pictures of nature that mimicked paintings. He conveyed the dynamic es- sence of nature by sharply portraying a moment in time rather than by preserving an unchanging ob- ject through a picture. Adams described how on a spring day in 1927 he was trying to capture an im- posing perspective of the face of Half-Dome in the Sierra high country. "I knew so little about pho- tography then, it was a miracle I got anything. But that was the first time I realized how the print was going to look--what I now call visualization--and was actually thinking about the emotional effect of the image."

Some people go on a walk and see nothing. Oth- ers see a little, and a few people see a lot because they have learned to observe and reflect, to concen- trate on an object and to elaborate mentally through imagery. Our eyes are our oldest technology. Rob-

Barbara Seels in an Associate Professor, Instruc- tional Design and Technology, University of Pitts- burgh. Joanne Dunn is an Instructional Designer, Community College of Allegheny County, Penn- sylvania.

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Photos by Allan Meyer, Jr.

ert McKim describes interactive imagery as the abil- ity to move from one imaging mode to another, from images we see, to images we imagine, to im- ages we draw. Environmentalist Rachel Carson was known as a scientist and writer of books, such as "Silent Spring." Few people know that she also drew as she walked through nature. She loved to sketch what she saw, often humorously.

In their book on "Teaching Creativity Through Metaphor" Donald and Judith Sanders describe the dilemma of modern technology. Television limits imagery because it is prescriptive and de- scriptive, often leaving little room for imagination. Yet as more and more information must be han- dled, we need to increase our ability to use imag- ery. One way to increase the ability to use imag- ery is to do exercises on solving problems with vi- sual strategies.

This "Visual Literacy Walk" can be used to de- velop visual awareness and visual problem solving skills. The ideas of Shulamith Kreitler, an Israli researcher, on concrete observation, multiple ex- pressions and elaboration on relationships were helpful in developing the exercise. The walk can be taken in parts over several days or done during one leisurely period that takes several hours. It is important not to rush the walk. As Deborah Cur- tiss says "Visual literacy begins with visual awareness. An expanded and strengthened use of our eyes to perceive the visual world with inter- est, breadth and depth can lead to expanded men- tal capacity as well." (p. 7)

Using the Natural Learning Environment

Taking a Visual Literacy Walk

First, purchase a sketchbook and a carrying bag. Add some drawing pencils, a soft eraser, some colored pencils for drawing or magic mark- ers. Choose a route for your walk that includes a building that you can enter, some traffic problems or other problems and some points at which the environment is very peaceful. Use the sketchbook to keep a record of your images by doodling and sketching and with words and phrases.

A. RELAXED AWARENESS (Pre-reflective ob- servations)

Observe a visual scene for ten minutes. If you have difficulty with relaxed observation, start with one minute and build up to a longer time. Keep a record of your observation attempts and times. When observing the scene, attention should n o t be placed on any specific object. Let the mind and eye wander over the area. Try to relax and con- centrate on the visual situation at hand rather than the thoughts that enter your mind.

B. RELATION OF SELF TO ENVIRONMENT (Reflective observations)

Adapted from F. Perl's Gestalt Therapy Exer- cise, "Contacting the Environment" (p. 31), "Try for a few minutes to make up sentences stating what you are at this moment aware of. Begin each sentence with the words 'now' or 'at this moment' or 'here and now' ." For example, "At this mo- ment I feel peaceful when I look at the fog rolling over the water." This exercise may seem simple to you, but if you try it several times you will be- gin to develop an awareness of the encountered environment. Make notes in your sketchbook.

C. CONCRETE OBSERVATION SKILLS (Ana- lyze and describe various visual situations)

Look at a familiar object, such as a plant, and describe it in its totality. Describe as many things as you possible can about the object. Sketch the object; sketch parts of the object; study propor- tions of the parts by using an imaginary or real grid. Look through a 1/2" by 3/4" window cut in a large notecard or draw a grid of one inch squares on a piece of clear acetate. Sketch sections that are interesting, unique or that best describe the object.

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D. MULTIPLE PERSPECTIVES (External, objec- tive, elaborative)

Physically move around and describe or sketch a familiar object from as many angles as possible. Draw an object from at least three perspectives. When you sketch an object try to capture your feelings through the perspective. You might want to use a worm's eye view, a bird's eye view or any number of other views. Title your sketches. Explain whether you felt it was easier to draw or verbally describe an object. Why?

Choose a building. Physically move around the building. Describe what you see. As you move around the building, sketch those visual aspects that are interesting, that communicate a particular idea or that appear new to you.

E. MULTIPLE PERSPECTIVES (Internal, subjec- tive, elaborative)

Look at the same building from a specific inter- nal perspective (interior). Look at the building from the perspective of the janitor, of a student, of any other person that comes to mind. What as- pects of that building and/or its surroundings would be important to the person you choose. Sketch at least one perspective from the point of view of a person who relates to the building. Jot down your thoughts.

F. CATEGORIZE AND ANALYZE VISUAL IN- FORMATION (Grouping and contours)

Choose two unrelated scenes or objects along your walk. One could be natural, such as a tree or a rock. The other could be man-made. Describe the connections you can make between these two ob- jects or scenes. For example, in a scene people may be viewed as a line of direction and related to lines in a building. People may be seen as shapes. Ob- jects may be grouped by color or shape. Choose a scene and sketch it with simple basic, lines. Identify as many groupings as you can. Use shape, color, line of direction to establish groupings.

G. PROBLEM SOLVING TASKS (Generating multiple solutions, recentering)

Select an object. Use aspects of that object to describe an idea. How can that object be related to another problem area. Sketch attributes of an object that can be used to help clarify a complete- ly different concept. Use the object as an analogy for solving a problem. For example, explain how a clock may have some connection with birds. What man-made objects do you see everyday that could have been developed from looking at an animal or other structure in nature? Try to make visual anal- ogies. Perhaps your analogy can be used to solve an environmental problem you identify during your walk. Describe different visual solutions to the same problem.

You may practice all of the described tech- niques daily. It 's surprising how the everyday world changes when it's filtered through conscious imagination.

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REFERENCES Curtis, Deborah (1987) Introduction to visual liter-

acy. Englewood Cliffs, New Jersey: Prentice Hall.

Kreitler, H. and Kreitler, S. (1972) Psychology of the arts. Durham, N. Carolina: Duke University Press.

McKim, Robert H. (1972) Experiences in visual thinking. Belmont, CA: Wadsworth Publishing.

Perls, F., Hefferline, R. and Goodman, P. (1958) Gestalt therapy. 3rd ed. New York: The Julian Press.

Sanders, Donald A. and Sanders, Judith A. (1984) Teaching creativity through metaphor. New York: Longman Inc.

Turnage, Robert. "Ansel Adams: the role of the artist in the environmental movement," in Cele- brating the American earth: a tribute to Ansel Adams. (1989) Washington, D.C.: The Wilder- ness Society. �9

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