Channels, Fall 2016

Page 62 Kenniv • Visual Rhetoric: A Case for Visual Literacy in the Classroom Visuals and Context Like text, visuals originate in time and space. In other words, they come from a specific sit- uational context. They are influenced by culture, social structures, and current situations. Brasseur (2005) demonstrates how Florence Nightingale thoroughly understood her audi- ence. Nightingale knew that they would be unfamiliar with the social sciences, and she drew her rose diagrams at a level they would understand. Driskill (2004) emphasizes how important context is to the visual communicator when she points out that context is useful in helping a communicator write about or interpret a a spe- cific situation. She further points out that because contexts are dynamic and, therefore, al- ways changing, how we approach context should be continually adapting as well. Kimball (2006) links Charles Booth’s maps of London poverty to the visual culture already sur- rounding the issue. Because Booth used a simple map for the issue, it boiled down the seemingly horrific issue of poverty into a manageable, solvable task. By doing this, he ad- dressed the specific situation and created a map that performed effectively in the context for which he designed it. Ethical Considerations As we have seen, visuals are not neutral or meaningless (Salinas 2002; Rosner 2001). Therefore, we must think about the ethical implications wrapped up in the use of images. Brumberger (2007) points out that we have responsibility over a broad selection of visual communication decisions. Kimball (2006) indicates that, in order to use images ethically, we need to understand their limits. Even more so, we need to acknowledge that communi- cating through images is no more certain than communication with text. We must be aware of this reality in order to use images ethically. Writing about specific legal issues, Paradis (2004) shows how we cannot hold others responsible for their actions if we do not provide correct, complete, and accurate information. Analysis The Persuasive Power of Visuals Perhaps the most compelling examples we have concerning the persuasive power of the image are Charles Booth’s poverty maps of London and Florence Nightingale’s Rose Dia- grams. Each image represented tabular data. Prior to the map and diagram, citizens were aware of the issues, yet they did nothing to remedy the ghastly situations of poverty in Lon- don or the preventable deaths in hospitals. The image allows us to understand abstract concepts in a concrete way. As noted about Booth’s maps, “The visual rhetoric of the map changed the public view of poverty, making the problem seem much smaller than had been supposed, and thus more manageable” (Kimball 2006, 359-360). Furthermore, the colors and appearance of Booth’s map helped persuade Londoners that something could be done to quell the growth of poverty. As a re- sult, motivated people began working towards social change.