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Thinking Critically About Visual Images

Thinking Critically About Visual Images. A useful method for critically “reading” visuals. Get the BIG picture : survey the image or sequence for a view of the whole and clues about its origins and purposes Analyze : Discern the elements of the image or sequence Infer:

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Thinking Critically About Visual Images

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  1. Thinking Critically About Visual Images

  2. A useful method for critically “reading” visuals • Get the BIG picture: • survey the image or sequence for a view of the whole and clues about its origins and purposes • Analyze: • Discern the elements of the image or sequence • Infer: • Interpret the underlying meanings of the elements and the ASSUMPTIONS and intentions of the works’ creators

  3. Synthesize: • Understand how the elements function together to produce a whole and to deliver the message • Often, evaluate: • Judge the quality, significance, or value of the work

  4. Let’s try the following visual together

  5. The Big Picture • What is the source of the work? Who created it—for instance, a painter, a teacher, an advertiser—and when? • What does the work show overall? What appears to be happening? • At a glance, why was the work created—for instance, to educate, to sell, to shock, to entertain?

  6. Analysis • Which elements in the image stand out? What is distinctive about each one? • What does the composition of the image emphasize? • If spoken or written words accompany the work, what do they say? How are they sized and placed in relation to the visual elements?

  7. Inference • What do the elements of the work say about the creator’s intentions and assumptions? In particular, what adoes the creator seem to assume about viewers’ background, needs, interests, and values? • If the work includes written or spoken words, how do they interact with the visual components?

  8. Synthesis • What general appeal does the work make to viewers? For instance, does it emphasize logical argument, emotion, or the creator’s or subject’s worthiness? • What feelings, memories, moods, or ideas does the work seem intended to summon from viewers’ own store of experiences? Why, given the purpose of the work, would its creator try to establish these associations?

  9. Evaluation • Does the work seem to fulfill its creator’s intentions? Does it do what the creator wanted? • Apart from the creator’s intentions, how does the work affect you? Does it move you? amuse you? bore you? offend you? • Was the work worth creating?

  10. Try this one in a small group:

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