Channels, Fall 2016

Channels • 2016 • Volume 1 • Number 1 Page 59 Visual Rhetoric: A Case for Visual Literacy in the Classroom Katie Tomlinson Communication — Cedarville University Introduction ith the internet saturating our lives with information through computers, phones, and now even watches, consumers have become picky about what information they ingest and what they do not. Society has adapted to the influx of resources by making split decisions based on appearance, headings, and design. In short, we initially judge information by its visual appeal despite the old saying, “never judge a book by its cover”. This is why most refer to this present time as The Visual Age. Rhetoricians have long appreciated the value of words. More recently, they have come to value the communicative and persuasive abilities of images. “Just as texts constructed by words are rhetorical so are texts constructed by pictures. And just as word-as-text is not innocent, neither is image-as-text” (Rosner 2001, 394). Images are how we communicate information quickly and effectively in The Visual Age. They are not stoic or neutral parts of an argument; instead, they hold persuasive power. Scholars recognize that visuals have the ability to produce social change by persuading people from passivity to action. Therefore, it is crucial that professional writing students understand how to responsibly use images and that professors teach students these skills at the college level. Professors should stress these concepts in a required visual rhetoric course. By focusing on the responsible use of images instead of rote technological skills, professors will encourage students toward visual literacy, the ability to critically evaluate and responsibly use images. Literature Review Visual Rhetoric: A Broad Definition Visual Rhetoric encompasses a broad range of ideas, and many attempt to define it. While definitions do overlap, each one takes its own unique view of what visual rhetoric includes and how we should apply it. The definitions include facets of literacy, classical rhetoric, and design theory. Portewig (2004) divides visual literacy into three categories, thinking, rheto- ric, and communication. He argues that, with specific reference to the visual, it is evidenced W