ERIC ED370560: Understanding Visual Information through Deep Viewing.

12 Pages·1993·0.3 MB·English

by  ERIC

DOCUMENT RESUME
IR 055 013
ED 370 560
Pailliotet, Ann Watts
AUTHOR
Understanding Visual Information through Deep
TITLE
Viewing.
93
PUB DATE
12p.; In: Visual Literacy in the Digital Age:
NOTE
Selected Readings from the Annual Conference of the
International Visual Literacy Association (25th,
055
Rochester, New York, October 13-17, 1993); see IR
055.
Reports -
Information Analyses (070)
PUB TYPE
Evaluative/Feasibility (142) -- Speeches/Conference
Papers (150)
MF01/PC01 Plus Postage.
EDRS PRICE
*Instructional Innovation; Research Methodology;
DESCRIPTORS
*Teaching Methods; *Visual Learning; *Visual
Literacy; Visual Perception
*Deep Viewing; Visual Thinking
IDENTIFIERS
ABSTRACT
This paper describes deep viewing, a research and
visual
instructional method used to reach social understandings of
written means.
texts through the use of communal talk, pictorial, and
visual text. The
It provides a means of analysis for any type of
examined. Also,
theoretical origins and premises of deep viewing are
in a classroom
the deep viewing methodology as it may be applied
deep
setting is described. Finally, further applications of the
(JLB)
viewing method are identified. (Contains 37 references.)
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Reproductions supplied by EDRS are the best that can be made
from the original document.
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Points of view or opinions stated in this docu-
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OERI position or polICY
Understanding Visual information
Through Deep Viewing
by Ann Watts Pailliotet
Syracuse University
170 Huntington Hall
Syracuse, NY 13244-3990
tifit,AISSION TO REPRODUCE THIS
MATERIAL HAS BEEN GRANTED BY
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INFORMATION CENTER (ERIC)."
Understanding Visual Information
Through Deep Viewing
Ann Watts Pai Motet
Although Marshall McLuhan
examine any visual text.
(1964) claimed that the "medium is the
message," it is essential to understand
content, processes, and forms of visual
Theoretical
Origins and
communication.
However, systematic
Premises
analysis of visual media rarely occurs in
most educational settings. A methodology
is needed that instructs and assists people
Deep Viewing is based on the
to better understand the many elements
principles and practices of several
involved in the visual world around them.
disciplines, including education, literary
criticism, visual literacy, and the social
This article will descrine Deep
sciences. Its name comes from Margaret
a research and instructional
Viewing,
Himley's educational process, "Deep
method
used
reach
social
to
Talk," described in her book, Shared
understandings of visual texts through the
Territory (1991). Margaret discovered this
use of communal talk, pictorial, and
method at Pat Carini's Prospect School in
written means. Deep Viewing is based
Vermont, where it was regularly used to
upon Roland Barthes' (1957) definition of
describe students' written texts. Deep
a text as not limited to written artifacts, but
Viewing extends Himley's methods for
as any cultural or communicative event.
analysis of print to include all visual texts.
The method respects both the text and the
Deep Viewing focuses upon, but is
audience. It assumes that deeper meaning
not limited to, the visual characteristics of
is packed into both participants and text;
a text. The method seeks to make explicit
that this meaning is readily available; and
the layers of meaning inherent within
that meaning becomes accessible through
visual texts, while it examines features of
structured discussion and response.
media as seen, heard, and experienced by
the audience, thus providing
a practical
The Deep Viewing method is
balance between the "medium" and the
compatible with many contemporary
"message."
Deep Viewing provides a
theories and practices in education. It
means of practical analysis for any type of
assumes that the creation and analysis of
visual text,
allowing the viewer to
visual texts proceeds in a recursive and
discover and construct the many messages
ongoing manner rather than as a static
or
within the forms of modern media. This
sequential event, so it is in keeping with
method has application to electronic, print,
the premises of process writing theorists
artistic, and situational texts;
it may be
builds on the
(Hairston,
It
1982).
used to understand film, television, video,
assumption that meaning is constructed
computer programs, art work, print
through transactions between audiences
representations or advertisements, and
and texts, and shares this perspective with
recordings or participant field observations
contemporary reader response theory
of human behavior. Deep Viewing
may be
(Rosenblatt, 1976).
Because the Deep
used by
Aucators, students, artists,
Viewing method encourages participants to
researchers, and general audiences to
3
the signs in written language. Deep
draw from their past experiences, to
Viewing extends these notions to include
critically analyze features in the text, and
the language of visual images. Barthes
to become aware of their own mental
processes of meaning making, this
(1974) and Fernande St. Martin (1990) set
forth codes or categories to order textual
procedure is complementary with the
Deep Viewing also uses a
meaning.
tenets of Whole Language (Goodman,
coding system, and although one of its
1982 ; Goodman, Hood, & Goodman,
categories examines discourse patterns, it
1991), critical thinking (Marzano, 1991) ,
also examines visual factors and how the
and metacognition (Sternberg, 1983). The
method accepts that meaning is
relationships between textual codes create
a
meaning. Because visual media are highly
constructed through social processes,
iconic, or representational , Deep Viewing
using many forms of communicational
also draws from the practices of symbolic
media. Therefore, Deep Viewing uses a
(Jung, 1956 & 1959) and metaphoric
for
analysis
format
collaborative
(Johnson, Johnson, Holubec, & Roy,
analysis (Lakoff & Johnson, 1980).
and draws from ideas and
1984),
This process of examining visual
practices of educators who identify the
and verbal symbols is compatible with
interactive natures of all modem literacies
many qualitative research methods in the
Calkins, 1983; Collins,
(Atwel1,1985;
social sciences, particularly those of the
1985; Dyson, 1984; Emery & Sinatra,
Symbolic Interactionists, who believe that
1983 ; Hynds, 1990 ; Sinatra, 1986 &
through observing human symbols and
1990).
behaviors, one may ascertain human
thoughts and beliefs (Blumer, 1969;
The development of critical
Glaser & Strauss, 1967; Manis & Meltzer,
analysis, exploration of personal response,
1972). The Symbolic Interactionists
and acceptance of others' points of view
made possible by the Deep Viewing
believe that meaning for individuals is both
constructed and reflected through the
process furthers the growing movement
symbols they use in social situations. Deep
toward multicultural awareness in English
Viewing helps participants to become
Sinatra (1990) shows how
classrooms.
aware of how symbols in visual texts both
examining popular media allows students
reflect and shape individual and societal
to explore cultural biases and experience a
beliefs and behaviors.
wide variety of cultural perspectives, as
well as to develop literacies. Because one
Deep Viewing furthers
the
of Deep Viewing's approaches to visual
integration of oral, written, and visual
texts proceeds from a specific examination
of cultural codes, the method is a useful
communicational competencies increasing-
ly identified as an important part of
way to help students become aware of and
modern literacy (Sinatra, 1986 & 1990).
appreciate social differences. The method
It synthesizes the work of visual literacy
also enables participants to examine how
meanings and values are
educators and theorists ( Adams & Hamm.
cultural
1987; Foster, 1979; Kellner, 1988
transmitted through mass media and to
:
Newcomb, 1986:
Masterman, 1980;
acknowledge how these meanings reflect
Reddy, 1990), semiotic theorists (Barthes.
relative, situated social constructions rather
Silverman, 1983), visual
1957 & 1974 ;
than absolute truths.
semiologists (Pettersson, 1992; Robinson,
Deep Viewing also
utilizes
1992; Saint Martin, 1990), and discourse
(Goffman, 1974 & 1981;
discourse analysis and draws from
analysts
into an easily usable
Himley, 1991)
semiotic practice. Traditionally, discourse
analysis centers upon oral or print
assists
classroom activity. The process
participants to describe and explore
language, and semiotic theory examines
4
meaning, by making explicit the many
all visual texts.
implicit connotations and connections
There are several points
inherent in both the imagery of the text and
which are useful to remember
in the experiences of the audience. The
next section will describe the Deep
in a Deep Viewing session:
Viewing method, as it may be applied to
visual texts in a classroom setting.
I. Follow the stated progression to build
layers of understanding.
2. It is often useful to designate a
The Deep Viewing
facilitator and recorder in each group,
especially when learning this technique.
Methodology
The facilitator keeps the group focused on
the specific task of each level and makes
sure each member is allowed to speak; the
General Guidelines and
recorder takes notes about group
Adaptations
comments.
3. For clarity, use "in the text" statements
Deep Viewing is a three -leveled
to describe the text. Use "I" statements to
It may best be done in a
process.
express your perceptions, ideas,
cooperative learning, Jigsaw II
format.
observations, etc.
Groups are formed to examine one or
4. Teachers may provide prompts as
more categories.
Participants are
desired. Possible prompts are included at
encouraged to write notes and/or draw
the end of each code in the description of
diagrams as they view and talk. After each
Level Two.
level of discussion, groups share their
observations with the whole group, thus
Codes
creating a broad picture of understanding.
Extension activities like prewriting, post
Form groups according to
writing, artistic response, cr reading
the following codes:
enrichment may be used throughout the
levels of inquiry.
Responses may also
1. Action I Sequence - This group
utilize electronic media, like word
may note events in text through oral
processing or graphic design, as well as
discussion, written notes and/or visual
other printed texts, before, during, or after
devices like flow charts and story boards.
the process.
They also note relationships of time: when
and how long do events take place?
When analyzing longer texts,
participants may determine stopping points
2. Semes I Forms - Semes are units of
for discussion and analysis; in an ongoing
visual meaning that create symbols. This
event like field work or an observation of a
group notes forms in text like colors,
science experiment, participants should
objects in a setting, textures, and icons.
concentrate on Level One of the Deep
This group also notes the appearance,
Viewing process, and use Levels Two and
types of dress, and features of actors.
Three at the conclusion of the observation.
They note repeated, emphasized and
In an observational field text discussion,
contrasted objects, i.e. objects that are
individuals may share their observations
paired with othcr objects; lightness with
subequently with a whole group; in print,
darkness in a film
, or
objects that reoccur
video, film, or artistic texts participants
throughout the text.
engage in the entire procedure. Deep
Viewing may be adapted as needed to
3. Actors I
Discourse
Although
-
create a broad frame for understanding for
actors are forms or symbols, this is a
perspective and participation affects
of analysis.
separate category for purposes
understanding and outcomes. This group
the
what
examines
group
This
should also focus on the quality of the text:
characters/actors say. They note words
like sound, angle of
e.g. How do factors
and phrases that may sum up main ideas or
perception , and focus affect meaning?
terms
themes, repeated language,
particular to a group, or language that
First Levd : Giving Voice and
also notes
seems out of place.This group
Summarizing
what they hear the characters say in the
oral / aural text: tone, rate, pitch of voices,
Groups are formed according to
and the lyrics of songs in a production.
and
the codes. Facilitators, recorders
setting.
reporters are selected. In a group
This
Movement -
4. Proximity
I
students focus on one category or code,
gestures
group examines all movement :
using a variety of responses, including
and
and movements of characters / actors
talk, writing, and pictures. Teachers may
other forms. They note: vectorality (where
that may direct or
use additional questions
objects or actors move) , relationships
assist inquiry as desired (e.g. questions
(how the forms move in relation to each
about a particular strategy like persuasion,
dimensions and relative sizes
other),
like stereotypes, a theme
a specific issue
in
(does one form dominate by standing
being stressed in readings, or guided
front?)
inquiry into connections between the
small
current text and others). For very
5. Culture I Context - This group
observe more
groups, ask participants to
references to
notes symbolic and discourse
individual
For
code.
one
than
cultural knowledge like science, art,
create a paper with six
observations,
educational practice or popular culture .
vertical columns and record relevant
They answer the questions: What is
observations under each heading as the
referred to ? What is implied? What is
observation proceeds. Level Two and
missing? What sorts of hidden messages
Three analysis may be done by individuals
do these references convey and what
through written analysis or subsequent talk
cultural perspectives or biases do they
with others.
This
create in the mind of the viewer?
in particular
group also locates the text
Procedure:
historical and social contexts. They look
for clues that reveal who made this text?
Watch the text. Take notes or draw
When? Why?
pictures of aspects which you notice,
and
you,
puzzle
that
questions
In commercial
6. Effects I Process -
observe
observations about your topic
devices:"
texts, viewers examine "artistic
within your group's assigned focus or
the use and repetition of techniques,
code.
quality of visual and sound effects and
musical accompaniments, camera angles
no
During this level there
and technological enhancements, etc. In
iA
cross-talk in groups.
less sophisticated productions, viewers
examine camera or observer angles, noting
1-1. Go around the table in your groups.
what is seen and missing, and posit how
each reading aloud your notes about what
perspectives influence understanding. In
This
you have seen and heard in the text.
print texts, they examine the devices used
level is literal. Describe only what you
audience,
to structure the text, interest the
perceive in the text - interpretation will
and further the author's purposes. In field
come later.
work or naturalistic observations, they
seek to understand how the observer's
6
1-2.
Summarize. Remain brief, but
over three minutes . We must then posit
each
remain as true as possible to what
that this is important for meaning."
reader feels or perceives
is the main point
of his/her observation.
*Teacher prompts
Is the time
:
1-3.
Each group reports their findings to
sequential or random? Does the action
the whole group .through oral, pictorial,
move around different time frames? What
and/ or written means
.
have we read that most closely parallels the
time sequences in this text? How do
we
Second Level : Making
know what time it is? Why do you think
Observations
the creators used this particular time
development? How might the meanings in
Teacher models different strategies
the text change if the time sequence
were
for response (underlined below ). Any of
different?
the strategies may be used for
any of the
codes. Remind students that these
Semes I Forms
Observation: "The
-
strategies may also be used for any text
-
symbol of X was repeated four times
print, situational, or electronic. Encourage
throughout the text." Compare /Contrast
:
students to draw upon their personal
"The image of Y was often paired with the
experiences and prior knowledge as they
image Z ." Questioning: "What
are the
watch, talk, and write. Stress to students
connotations of a symbol X?" " How do
that with visual texts,
as in literature,
these two symbols convey possible
there are no single "right answers," but
a
antithetical meanings?" (e.g. of freedom
range of possible interpretations. Often,
versus entrapment, goodness yersus evil,
some of the responses drawn from codes
etc.)
will begin to overlap at this level,
as
participants begin to discover relations
*Teacher prompts:
What symbols or
between elements in the texts and their
objects were repeated most? Which
ones
observations about them. This overlap is
were paired? Why? What feelings,
desirable.
Teacher prompts may be
memories, and thoughts do you associate
created and used throughout Levels Two
with these symbols? In what other texts
and Three as needed. Some examples of
have you encountered these symbols?
prompts are provided.
What might they mean to a
person from a
culture that is different than yours? What
During this level there is no
did you expect to see that was missing?
cross-talk in groups until each participant
Why do you think the creators used these
has had a minimum of three uninterrupted
particular symbols? Would
you use the
turns to speak.
same ones? Why or why not?
Procedure:
Actors I Discourse
-
Connecting: "The
characters repeat the phrases and words,
2-1.
Go around the table in your
groups
' When one reads repeated lines in
again, but this time each viewer makes
an
poetry, these lines arc often used to
observation. These observations should be
emphasize meaning."
Identifying
based upon explicit aspects of the text.
communicative purposes: "How do these
Note what is present in the text and what is
repeated words further the
purposes of the
missing. Begin with observations that
are
text?" Noting what is missing: "Why
readily apparent and move to
more
doesn't this text contain references
or
inferential levels as you continue.
I'd
language about A, B, or C?
expect
them to be there."
Action I Sequence
Conclusion: "The
action continued longest during X
scene--
7
present women in
*Teacher prompts : What are the
of this text seem to
submissive roles. How does this reflect the
connotations of repeated words and
norms in 1950? Is this how people
phrases in the text? Why do you think the
think today?"
creators chose these words? What other
words could they have used? How might
* Teacher Prompts: How do these
using other words change meaning? What
references reflect the dominant views of
were the tone and mood of the characters
U.S. culture? What assumptions are the
and text? How do you know? How are
senders of this message making about us
tone and mood conveyed in a print text?
and the greater society? Do we agree? How
- Noting
do they depict certain groups of people? Are
Movement
Proximity
I
portrayals?
accurate
these
context: "In this scene, Character A stands
What sorts of words and images reveal
between character(s) or object(s) B and C.
stereotypes? How do you feel about these
Forming hypotheses: "This relationship
images?
may foreshadow coming action; it may
indicate how humans are always choosing
Effects I Process - Noting artistic
between alternatives.
devices and possible motivations: -Why is
* Teacher Prompts: What are the
this subject viewed from below? Does this
connote respect or power? How do the
relations of objects and what do these
special effects enhance or detract from the
relations suggest to you? Why are certain
text? There are few reverse shots in this
images closer to the viewer while others
sequence. Why does this medium utilize
farther away? What does this suggest about
relative importance?
the forms and processes it does?" Notino
What
their
visual devices : "In the beginning of the
moves and what doesn't? What do ideas of
text the camera is out of focus or pans in
movement and stillness suggest to you?
from a wide shot to a narrow shot of the
How is movement or lack of movement
main character. How is
this text to further plot,
like
this
used
in
foreshadowing or development in a novel
characterization, and mood? How are these
or poem?" Personal observations and
devices used in literature?
reactions: "How aware am 1 of how devices
used? What responses do
are
- Observing:
Context
Culture
I
I
have to them?"
Common cultural codes are noted like
historic, scientific, artistic, and literary
*Teacher prompts
How many
:
references, or allusions to current events
different angles and effects can you
and famous people: "The text contains four
identify? How do these devices capture the
references to science." Remembering: "In
viewer's interest? What sorts of devices
the news last week they reported that this
were used to develop the story? How are
theory had been disproved." Projecting:
they used? What devices are used to create
"If I were to make this text, I would..."
feelings in the viewer like suspense or
Locating Context: "The characters refer to X
tension? What devices are used to create
event, are dressed
historical
in
a
fast action? Slow action? How are these
particular style, and use several slang
devices like those used by authors in print
words that lead us to believe this film was
texts? How do they differ?
made during the late 1950's." Identifying
perspectives:
Cultural allusions often
2-2. Talk at this level continues until
convey hidden stereotypes and cultural
readers agree that their observations are
biases. They also often reveal who is the
complete and they are ready to move into
perceived audience from the perspectives of
the third level. Groups again stop and share
the senders of a message. "The makers
8
pauses in order for participants to
their observations with the whole group.
assimilate and formulate ideas. Questions
Third Level: Inferences,
and responses are discussed in the groups
Assumptions, and Evaluations
until members agree that the topic has been
exhausted, and then groups report back to
the whole group describing findings they
During this level there is no cross
see as particularly interesting or important.
talk until each participant has had two
uninterrupted turns, then viewers may
NOTE: The Facilitator should be
talk in any order and question each other.
In this level, participants should start with
alert at this level, to keep participants on
task.
their code focus, and then may progress
to a discussion of the other codes.
3 -2. Groups identify questions and
Procedure:
general themes. Report findings back to
whole group.
When groups begin making
3 -1.
broader inferences about the text's
meanings, this level will have begun.
Further Applications and
Besides broader and more speculative
Conclusion
inferences, the participants will now
indicate their likes and dislikes about
aspects of the text. Viewers may compare
or contrast this text with others, draw
In the past year, Deep Viewing
upon personal experiences, or express
has been used by middle school students
collective perceptions in their discussions
in California for analyses of films and
about the text.
Participants should also
newscasts, previews of textbooks, and an
speculate and pose questions about the
examination of how commercials use
Discuss these questions and
text.
persuasive strategies in order to
sell
responses in your groups. Be explicit
In New Mexico, high school
products.
about textual and personal connections
students Deep Viewed print advertise-
.
Say "I" when expressing an opinion or
ments. They
discovered that certain
observation; say "in the text," when
images, like colors and objects, are used
expressing perceptions of what you noted
by both authors of literature and sellers of
at the literal level.
consumer goods to hold audience interest
and further communicational purposes. In
At this level, the codes often begin
New York, a group of university level,
to overlap, as participants draw from the
textual studies students used the method to
findings of other groups. Participants are
watch The Wizard of Oz
These sopho-
.
now free to make connections between
mores, who often approached textual
their own observations, those of their code
analysis with tepid responses,
were
group, and those within the classroom.
engaged and on task throughout the
Participants should also speculate and pose
session. They provided diverse interpreta-
questions about the text, relating it to their
tions and novel perspectives of this
own experiences, expectations, feelings,
familiar classic: the existence of Jungian
and knowledge to what they have seen,
themes, its depiction of the monomyth or
heard, and written. Often, at this stage,
hero's quest, its contrast of Christian and
larger themes and connections are made.
pagan imagery, its depictions of cultural
All participants should have ample
stereotypes, and issues of gender the film
opportunities to listen and respond. There
raises.
may be breaks in the group conversations.
Last fall, the Deep Viewing method
Facilitators should allow these reflective
9
settings which they examine, and the
was used by teacher candidates to create
greater implications of their work.
anecdotal records of students in the
classroom and to analyze tapes of their
Because Deep Viewing involves
initial classroom experiences. Through an
reading, writing, speaking, listening,
examination of what they said and did, as
viewing, it offers a way to
and
thinking
well as the objects and events in their
communicational worlds and
connect
classrooms, many were astounded to see
extend the competencies of our students
the cultural assumptions they made and the
both in and out of the classroom. Although
implicit biases they exhibited within their
perfect, Deep
no instructional strategy is
lessons. The Director of the teacher
Viewing has much to recommend it. It is a
education program at my University
method which may be used and adapted
remarked that she had never seen such
for a variety of contemporary texts. It
insight in novices, and attributed this
shares a common stance with much of
reflective capacity in part to the Deep
existing educational theory and classroom
Viewing training they had received. She is
practices. It promotes active participation,
method for
now requiring training in the
analysis, and awareness of
critical
all future candidates. The method has
participants' culturally based assumptions
been also been employed by experienced
about themselves and others.
is
It
teachers to analyze video tapes of
links students'
motivational, because it
classroom teaching situations, and by
to classroom
personal experiences
faculty at a nearby college as a way to
These
teachers.
instruction.
student
observe
participants found value in the method,
With Deep Viewing, teachers may
because it enabled them to examine their
create a powerful connection between
practices in a
own and others' teaching
classroom material and the students' lives,
systematic way. They also noticed aspects
teaching and reinforcing communicational
of their teaching they had overlooked in
have found
that
competencies.
I
the past.
participants enjoy Deep Viewing , tend to
often
have used Deep
stay on task during the process, and
Recently,
I
exhibit increased academic and social skills
Viewing to examine films, analyze print
which carry over from the examination of
and televised commercials, review
popular texts into traditional study. Deep
picture books, evaluate
children's
Viewing is a practical tool that furthers our
computer software, and as a method of
understanding of both the media and the
observation in my dissertation field work.
messages of visui 1 texts.
My hpsband, a photographer, recently
used the method as a way to analyze his
in order to explain them in a
pictures,
References
written narrative. A science teacher friend
of mine now wants to teach the method to
of
observation
for
students
Adams, D. M., & Hamm, M. (1987).
his
Teaching students critical viewing
experiments.
26(3).
Curriculum Review,
skills.
Deep Viewing also provides a
29
31.
systematic way for researchers and
and
events
order
tc
observers
Atwell, N. (1985). Writing and reading
understanding in classrooms and field
from the inside out. In J. Hansen.
work. By breaking down the component
T. Newkirk, & D. Graves (Eds.).
parts of experience into codes or
Breaking ground : Teachers relate
categories, researchers may gain insight
reading and writing in the
about themselves, the participants and
1 o