Journal articles on the topic 'Ontario Colleges of Applied Arts and Technology'

A survey of faculty participation in paid consulting arrangements in Ontario Colleges of Applied Arts and Technology reveals that 34% were involved in at least one project during a specified one-year period. There was significant variation in participation by division of academic appointment and by gender. The authors suggest that further research should be undertaken concerning the nature and role of paid consulting in community colleges. A number of basic questions are raised in an attempt to induce further study on this important topic.

Given their unique pedagogical mandate and structure, Canadian public colleges play a central role in serving groups traditionally under-represented in the post-secondary system. Yet as enrolment from these groups continues to rise, it is unclear to what extent the diversity of student bodies is reflected among faculty. In fact, while issues of faculty diversity and employment equity have gained increasing attention within Canadian universities, they have been largely overlooked within colleges. In an effort to address this gap, we have reviewed the employment equity related policies of Ontario’s five largest publicly funded colleges (otherwise known as Ontario Colleges of Applied Arts and Technology, or OCAATs). With a focus on personnel data collection and recruitment—two policy areas we will argue are particularly underdeveloped in the sector—this paper provides recommendations for future research and priorities for organizational policy development.

Given their unique pedagogical mandate and structure, Canadian public colleges play a central role in serving groups traditionally under-represented in the post-secondary system. Yet as enrolment from these groups continues to rise, it is unclear to what extent the diversity of student bodies is reflected among faculty. In fact, while issues of faculty diversity and employment equity have gained increasing attention within Canadian universities, they have been largely overlooked within colleges. In an effort to address this gap, we have reviewed the employment equity related policies of Ontario’s five largest publicly funded colleges (otherwise known as Ontario Colleges of Applied Arts and Technology, or OCAATs). With a focus on personnel data collection and recruitment—two policy areas we will argue are particularly underdeveloped in the sector—this paper provides recommendations for future research and priorities for organizational policy development.

This study, conceptualized using a "person-environment fit" model of dropout, examined differentiated freshman attrition and persistence in a College of Applied Arts and Technology of Ontario. Also examined were the magnitude and timing of dropout as well as the ability of the model to explain and predict freshman attrition/persistence vs academic success/failure. The relative importance of student and institutional characteristics in the withdrawal process was also assessed. Results showed that thirty percent of the freshman cohort dropped out in the first year, with approximately half doing so in the first semester. Those variables which measured the nature of the student-institution interaction accounted for a greater amount of the variance in persistence/withdrawal than did the background and entry-level characteristics of the students alone. This confirms the validity of the "fit" model of dropout and suggests that college administrators could significantly reduce freshman attrition by carefully managing the college learning environment. Consistent with U.S. studies comparing factors influencing dropout in commuter and residential institutions, this study found academic integration and educational commitment to be of greater importance to persistence than social integration and institutional commitment. A student's intention to leave the college at mid-semester and his/her confidence in success were also found to be important determinants of freshman attrition.

The paper presents a discussion of faculty development in 22 of Ontario's Colleges of Applied Arts and Technology. We report the findings of a survey which collected information on administrative structure, funding, mandate, faculty development activities, publication, incentives for faculty participation, assessment of faculty needs and evaluation. We conclude by raising a number of questions which faculty developers might address as changes in the social, political and economic environment present new challenges to colleges and universities.

This paper explores general issues relating to globalization and higher education; the internationalization of higher education, and particularly the recruitment of international students. This subject is examined through a range of topics around the global development of the market approach to the recruitment of international students and a focus on the current situation regarding the recruitment of international students in the Colleges of Applied Arts and Technology in Ontario (CAATs). As the number of international students seeking educational opportunities grows to 7 million over the next 20 years, the ability of the CAATs, the Canadian educational system, and the governments of Ontario and Canada to market the welcoming and safe multicultural Canadian experience, and the excellence of the educational offerings and opportunities in CAATs to potential international students will, in great measure, determine their success and their survival in an increasingly globalized world.

AbstractTypes of non-formal adult education in the USA and Canada are singled out. Non-formal adult education in the United States and Canada is subdivided into basic adult education, education for professional development, education for personal development, specialized adult education, education for the development of civil society (constituents of which are education for peace, citizenship and democracy; education for protection of environment; multicultural education). The purpose and main assignments of adult education for professional development are systematized. The purpose is professional development, meeting the needs of personal development, self-actualization and self-realization in professional life. Its main tasks are: formation of positive attitude to professional work and motivation for professional growth; enriching social and professional competence; development of adequate professional conduct. Types of educational establishments for adults are systematized. University colleges, community colleges, colleges of general and vocational education, colleges of applied arts are an alternative to university education of adults in Canada and the USA. Specifics of programs in American and Canadian colleges is analyzed. Colleges and institutes introduce programs aimed at solving social problems, taking into account labor market demands. They offer training programs for development of applied skills in business, art, technology, agriculture, social and educational fields, medicine. A special place in non-formal education for professional development is given to education for the labor market, which is aimed at obtaining specific professional competencies that are necessary at labor market. Adults are involved in professional programs, trainings, courses, seminars, internships.

Against the backdrop of developing new arts, it is urgent for undergraduate colleges engaged in applied studies to change the traditional teaching model and adopt virtual simulation technology to build an experiment teaching system for the studies of traditional Chinese culture, particularly the Chinese tea ceremony. In this paper, a multi-level experiment teaching system is developed based on experienceknowledge-skills with multiple objectives, covering two physical sections and four functional modules, featured by immersive and interactive teaching methods. It encourages learning based on independent inquiry, enabling students to be flexible for innovation. It effectively integrates good teaching resources to serve multiple disciplines, ultimately achieving the goal of enhancing competency, elevating spiritual pursuit, and raising awareness of innovation.

The article is devoted to the examine of the role of liberal education in general, and the English major in particular in the process of training a successful person in US higher education. Liberal Arts colleges have been training students in the country since colonial times and have always been characterized by high quality education. These colleges were charged with providing a broad-based education that would prepare students for a wide variety of professions. With the beginning of a new era, in the twentieth century, Americans' priorities changed and it was a devaluing of the humanities in favor of science, technology, engineering, and mathematics (STEM) and applied programs designed to prepare graduates for specific jobs and careers. However, understanding the importance of the humanities in the process of formation of decent American citizens and successful individuals encourages colleges and universities to look for ways to improve the effectiveness of liberal arts education, renew the educational process, and increase the competitiveness of the humanities in the U.S. labor market. English major provides unique opportunities for the formation of skills that are vital to a successful life. The efforts of higher education establishments to improve the situation with philological education and attract new students is analyzed in the article. The content of the educational program is considered, the data of scientists on its updating, examples of concrete innovations are given. The important role of English language and literature in preparing students for success after graduation, career prospects is confirmed by numerous American scientists` studies. The article presents the work of educators who prove the importance of liberal education in the formation of intellectual and moral qualities of the individual, tolerant attitude towards other people and cultures, critical thinking skills, productive communication, collaboration as well as active citizenship. Also in the article it is considered the relevance of the English major in modern world and career prospects for specialists in English philology.

AbstractThe history of physical education (PE) in Zambia follows the pattern of the history of education in Zambia. Thus, the history of PE in Zambia can be divided into the indigenous period, the colonial period and the post-independence period. “PE” was essential and utilitarian in the indigenous period because it was simply part of the lives of the people at that time. People walked, swam, ran, and were involved in many other forms of physical activity. PE was indispensable. Later, the missionaries provided education to the Africans for the purpose of transmitting the Good News. However, in doing so they rid the Africans of their culture. Africans also wanted to assert themselves in the newly created society and therefore embraced European culture. Eventually, the demand for education grew and many subjects were added including PE. However, while many subjects have enjoyed immense popularity in the country’s curriculum, PE has suffered marginalization. Although the subject was taught in schools supported by the mining companies and in private schools with facilities and infrastructure as well as teacher training institutions, it was not examined. Later, the subject was examined at teacher training colleges and the University of Zambia. From 2005, however, major developments have taken place in the area of PE. President Mwanawasa declared that PE should be taught in all schools. The subject was introduced to the primary school examination as part of Creative and Technology Studies (CTS) and most recently as Expressive Arts (EA). It is now also being examined at junior and senior secondary levels. Teacher education institutions have been steadfast in training students in PE. Despite this, the teaching of the subject still leaves much to be desired. It appears that the past as well as the present are vehemently holding the subject down.

A decade ago, access to technology was limited and wiring schools was one of the nation's highest education priorities (NCREL, 2005). Ten years of substantial investments have vastly improved this picture. According to the Secretary's Fourth Annual Report on Teacher Quality, virtually every school with access to computers has Internet access (99%), compared to only 35 percent of schools in 1994, according to the National Center for Education Statistics (NCES) (Parsad & Jones, 2005). The Office of Technology Assessment report to Congress in 1995 stated that "Technology is not central to the teacher preparation experience in most colleges of education. most new teachers graduate from teacher preparation institutions with limited knowledge of the ways technology can be used in their professional practice" (Office of Technology Assessment, 1995). The report, in which this statement appeared, titled Teachers and Technology: Making the Connection, was a wake-up call, and over the past years, much remunerative progress has been made. Many states are attempting to address educators technology skills through the creation of teacher or administrator standards that include technology; as of 2003, 40 states and the District of Columbia have such standards (Ansell & Park, 2003). A number of states have adopted technology requirements for initial licensure. For example, 13 states require teachers and/or administrators to complete technology-related coursework, and nine require them to pass technology-related assessments. In addition, a number of states have implemented policies to improve veteran teachers technological skills (Ansell &Park, 2003). Addressing the issues of technology integration into the curriculum, the Maryland State Department of Educations (MSDE) PT3 consortium infused technology into the state's teacher education programs in three ways. First, the consortium used the Maryland Teacher Technology Standards to redesign both arts and sciences and education courses so they incorporate technology-related knowledge and skills. The Maryland Teacher Technology Standards included learning outcomes and, core learning goals and skills for success; it also specifies what students in pre-kindergarten through 12th grade need to know and be able to do in English/Language Arts, mathematics, science, and social studies. The Maryland State Department of Education (1999) provided expectations for how technology can and should be used to support student learning and instruction. Second, the group developed performance assessments in order to measure the technological competence of teacher candidates. Third, the consortium developed a system for electronic portfolios that incorporates a student teacher's technology performance assessment. These portfolios can be made available to future employers to demonstrate technology-related proficiency. The consortium is statewide and diverse, including several public universities and two communities. According to a report titled, Tech-Savvy: Educating Girls in the New Computer Age (AAUW, 2000), Washington, DC; as violent electronic games and dull programming classes turn off increasing numbers of adolescent girls, the way information technology is used, applied, and taught in the nations classrooms must change. Furthermore, commensurate with rapid changes in technology, a remarkably consistent picture emerges: more boys than girls experience an early, passionate attachment to computers, whereas for most girls attachment is subdued. Margolis and Fisher (2002) reported that computing is claimed as male territory very early in life: from early childhood through college, computing is both actively claimed as guy stuff by boys and men and passively ceded by girls and women. Society and culture have linked interest and success with computers to boys and men. In the words of Margolis and Fisher (2002), curriculum, teachers expectations, and culture reflect boys pathways into computing, accepting both assumptions of male excellence and womens deficiencies in the field (p. 4). Social expectations towards educational leadership in academic and economics terms depend on the integration of technology in every facet of society. The American family survival depends on the abilities and incomes of all adults. The type of technical skills needed to be creative and to survive in the job market escalates daily. Educational leaders must be aware that gender equity among middle school students with respect to the use of computer technology should be grounded in the development of programs that not only address the educational aspect of schools, but also allow students to develop their appreciation for, and understanding of the interrelationship among computer usage, careers, and values. With the implementation of such programs, schools could operate as equalizers for the sexes regarding computer competency and attitudes. Educational leaders have the ability to direct resources to show how computer technology may release the creative impulse in children and allow them to think and learn. Educators need to link the curriculum and technology with student interests. Both male and female students use computer applications that can be linked to the educational setting, such as word processing, Internet, completing homework, reports, and projects, as well as communication through email, self-expression, and personal interest. Educators who are developing these programs must understand how girls lose interest in technology and recognize the different learning styles of each gender. The role of training district school teachers to effectively utilize computer technology within the classroom is important if strides are to be made in supporting girls and women in choosing computer-related careers and using computers as a medium of expression. Institutions of higher education would provide opportunities and hold the responsibility of reviewing the technical construction of each teachers plan. Educational leaders will meet frequently with university representatives to review, discuss, record experiences, develop, modify, and evaluate plans and performances to ensure that teachers receive the training necessary to instruct all students utilizing appropriate computer technology. Degree attainment, certification, and re-certification should be linked to the variation of experiences, the structure, depth, detail, and impact of the program developed by the practitioner in consultation with representatives from higher education and the school district. Partnerships with local school districts and institutions of higher learner should be established to develop programs, which incorporate many of the tenets discussed above.

A Review of: Dougan, K. (2016). Music, YouTube, and academic libraries. Notes, 72(3), 491-508. https://doi.org/10.1353/not.2016.0009 Abstract Objective – To evaluate how music faculty members perceive and use video sharing sites like YouTube in teaching and research. Design – Survey Questionnaire. Setting – 197 music departments, colleges, schools, and conservatories in the United States. Subjects – 9,744 music faculty members. Methods – Schools were primarily selected based on National Association of Schools of Music (NASM) membership and the employment of a music librarian with a Music Library Association (MLA) membership. Out of faculty members contacted, 2,156 (22.5%) responded to the email survey. Participants were asked their rank and subspecialties. Closed-ended questions, ranked on scales of 1 to 5, evaluated perceptions of video sharing website use in classroom instruction and as assigned listening; permissibility as a cited source; quality, copyright, and metadata; use when items are commercially unavailable; use over library collections; comparative ease of use; and convenience. An open-ended question asked for additional thoughts or concerns on video sharing sites and music scholarship. The author partnered with the University of Illinois’ Applied Technology for Learning in the Arts and Sciences (ATLAS) survey office on the construction, distribution, and analysis of the survey data through SPSS. The open-ended question was coded for themes. Main Results – Key findings from closed-ended questions indicated faculty: used YouTube in the classroom (2.30 mean) more often than as assigned listening (2.08 mean); sometimes allowed YouTube as a cited source (2.35 mean); were concerned with the quality of YouTube recordings (3.58 mean) and accuracy of metadata (3.29 mean); and were more likely to use YouTube than library resources (2.62 mean), finding it easier to use (2.38 mean) and more convenient (1.83 mean). The author conducted further analysis of results for the nine most reported subdisciplines. Ethnomusicology and jazz faculty indicated a greater likelihood of using YouTube, while musicology and theory/composition faculty were more likely to use library resources than others. There was little significant difference among faculty responses based on performance subspecialities (e.g. voice, strings, etc.). Overall, open-ended faculty comments on streaming video sites were negative (19.3%), positive (19.3%), or a mixture of both (34.1%). Themes included: less use in faculty scholarship; a need to teach students how to effectively use YouTube for both finding and creating content; the value of YouTube as an audio vs. video source; concerns about quality, copyright, data, and reliability; and benefits like easy access and large amounts of content. Conclusion – Some faculty expressed concern that students did not use more library music resources or know how to locate quality resources. The study suggested librarians and faculty could collaborate on solutions to educate students. Librarians might offer instructional content on effective searching and evaluation of YouTube. Open-ended responses showed further exploration is needed to determine faculty expectations of library “discovery and delivery” (p. 505) and role as the purchaser of recordings. Conversations between librarians and faculty members may help clarify expectations and uncover ways to improve library resources and services to better meet evolving needs. Finally, the author recommended additional exploration is needed to evaluate YouTube’s impact on library collection development.

This paper describes a pilot collaboration between Queen’s University and Sir Sandford Fleming College of Applied Arts and Technology in Peterborough Ontario. Since 1994 Queen’s has offered projects where students learn by solving problems for fee paying industrial clients. Known as Technology Engineering and Management (TEAM) student participants form multidisciplinary teams to consult for business clients. In addition to engineering students, commerce and arts students have often participated in the teams. In the Applied Projects program at Fleming College, third year engineering technology student teams solve problems for enterprise sponsors. A pilot group of engineering technology students from Fleming College worked with students in two Queen’s University TEAM projects. In industrial practice, engineers and engineering technologists often collaborate on solving problems. This collaboration rarely occurs in an educational setting. In the 2002-2003 academic year the pilot exercise simulated the professional working relationship between engineers and technologists. This paper gives a description of the experience and the motivation to undertake this unique collaboration. The most important aspect of the presentation is a critical assessment of the University/College collaboration -- what worked, what problems arose, and what improvements are suggested.

This study explored the transition from secondary to postsecondary education among a national sample of students who had or had not studied music in high school. Using evidence from the High School Longitudinal Study of 2009, a nationally representative longitudinal study of 21,440 American high school students who were ninth graders in the 2009–2010 school year, music and nonmusic students were compared for college admission outcomes. Specifically, music and nonmusic students were compared in terms of participation in the college admission process, the selectivity of colleges applied to and attended, scholarship and grant receipt, and election of either an arts or STEM (science, technology, engineering, mathematics) major. Comparisons controlled for the well-documented preexisting differences among those students who do and do not elect high school music study. Results showed that music and nonmusic students dropped out of high school, applied to college, attended college, received college scholarships and grants, and majored in STEM fields at statistically similar rates. However, music students were considerably more likely to major in a visual or performing arts field than nonmusic students. These results suggest that school music study does not disadvantage students in the transition to college even when compared with peers who elected additional “academic” subjects in lieu of music.

In the late 1990s and early 2000s, the Toronto Police Service was exploring how to increase access to higher education to its officers. The service saw higher education as salient to its organizational imperatives of professionalization, increased public legitimacy and credibility, and enhanced academic recognition of police professional learning. To realize this mission, the Toronto Police Service entered into a higher education partnership with the University of Guelph and Humber Institute of Technology and Advanced Learning under its then-new joint venture, the University of Guelph-Humber. The University of Guelph-Humber designed an accredited higher education pathway for Toronto Police personnel that also gave academic credit for past professional learning and increased educational access by offering blended course delivery. Based on semi-structured interviews with key educational administrators at the University of Guelph-Humber, Humber Institute of Technology and Advanced Learning, and the Toronto Police Service, this article narrates the origins of this higher education pathway—a Bachelor of Applied Arts in Justice Studies. In addition, it describes how this pathway evolved to include non-uniform Toronto police personnel, other police services, and expanded further to include learners from the larger justice and public safety fields. The exploration is situated in a larger discussion about the relationship between higher education, professionalization and legitimacy, and the potential of partnerships between higher educational institutions and professions in Canada.

Undergraduate research (UR) is a high-impact practice (HIP) to engage undergraduate student in science, technology, engineering and mathematics (STEM), especially from underrepresented groups. UR experiences (UREs) can be integrated into the classroom, making authentic research experiences inclusive and available to all students. However, developing UR pedagogy can be challenging for faculty in resource-limited labs, such as community colleges and small liberal arts colleges. Often molecular biology research methods are expensive, time-consuming and need equipment not readily available or affordable in small schools. Polymerase chain reaction (PCR) is one of the most commonly used techniques in research labs and many UREs. We have investigated loop-mediated isothermal amplification (LAMP) as an inexpensive, accessible alternative to PCR for DNA amplification enabling the identification of microorganisms in the context of UREs. LAMP does not require expensive instrumentation or reagents and uses equipment commonly found in teaching labs. By performing the technique, students learn several key scientific skills that will be useful in their undergraduate or graduate STEM careers. We designed guided independent research experiences for several undergraduates that included the use of LAMP. Students successfully applied the technique to culture samples of common environmental bacteria, including Escherichia coli, Salmonella spp., Staphylococcus aureus, and Enterococcus, and were in addition, able to detect both Salmonella and Enterococcus in directly sampled environmental waters. To highlight the accessibility and affordability of this URE, a simple boiling method was used for DNA preparation from environmental samples. Student response data show positive attitudes toward UR when LAMP is utilized as a research tool to tackle relevant biological questions. The feasibility of using simplified LAMP in UREs points to a potential, more expanded application to public engagement with science and broader and more inclusive interactions with the research community.

While the term “visual literacy” has grown in popularity in the last 50 years, its meaning remains nebulous. It is described variously as: a vehicle for aesthetic appreciation, a means of defence against visual manipulation, a sorting mechanism for an increasingly data-saturated age, and a prerequisite to civic inclusion (Fransecky 23; Messaris 181; McTigue and Flowers 580). Scholars have written extensively about the first three subjects but there has been less research on how visual literacy frames civic life and how it might help the public as a tool to address disadvantage and assist in removing social and cultural barriers. This article examines a forerunner to visual literacy in the push to create an international symbol language born out of popular education movements, a project that fell short of its goals but still left a considerable impression on graphic media. This article, then, presents an analysis of visual literacy campaigns in the early postwar era. These campaigns did not attempt to invent a symbolic language but posited that images themselves served as a universal language in which students could receive training. Of particular interest is how the concept of visual literacy has been mobilised as a pedagogical tool in design, digital humanities and in broader civic education initiatives promoted by Third Space institutions. Behind the creation of new visual literacy curricula is the idea that images can help anchor a world community, supplementing textual communication. Figure 1: Visual Literacy Yearbook. Montebello Unified School District, USA, 1973. Shedding Light: Origins of the Visual Literacy Frame The term “visual literacy” came to the fore in the early 1970s on the heels of mass literacy campaigns. The educators, creatives and media theorists who first advocated for visual learning linked this aim to literacy, an unassailable goal, to promote a more radical curricular overhaul. They challenged a system that had hitherto only acknowledged a very limited pathway towards academic success; pushing “language and mathematics”, courses “referred to as solids (something substantial) as contrasted with liquids or gases (courses with little or no substance)” (Eisner 92). This was deemed “a parochial view of both human ability and the possibilities of education” that did not acknowledge multiple forms of intelligence (Gardner). This change not only integrated elements of mass culture that had been rejected in education, notably film and graphic arts, but also encouraged the critique of images as a form of good citizenship, assuming that visually literate arbiters could call out media misrepresentations and manipulative political advertising (Messaris, “Visual Test”). This movement was, in many ways, reactive to new forms of mass media that began to replace newspapers as key forms of civic participation. Unlike simple literacy (being able to decipher letters as a mnemonic system), visual literacy involves imputing meanings to images where meanings are less fixed, yet still with embedded cultural signifiers. Visual literacy promised to extend enlightenment metaphors of sight (as in the German Aufklärung) and illumination (as in the French Lumières) to help citizens understand an increasingly complex marketplace of images. The move towards visual literacy was not so much a shift towards images (and away from books and oration) but an affirmation of the need to critically investigate the visual sphere. It introduced doubt to previously upheld hierarchies of perception. Sight, to Kant the “noblest of the senses” (158), was no longer the sense “least affected” by the surrounding world but an input centre that was equally manipulable. In Kant’s view of societal development, the “cosmopolitan” held the key to pacifying bellicose states and ensuring global prosperity and tranquillity. The process of developing a cosmopolitan ideology rests, according to Kant, on the gradual elimination of war and “the education of young people in intellectual and moral culture” (188-89). Transforming disparate societies into “a universal cosmopolitan existence” that would “at last be realised as the matrix within which all the original capacities of the human race may develop” and would take well-funded educational institutions and, potentially, a new framework for imparting knowledge (Kant 51). To some, the world of the visual presented a baseline for shared experience. Figure 2: Exhibition by the Gesellschafts- und Wirtschaftsmuseum in Vienna, photograph c. 1927. An International Picture Language The quest to find a mutually intelligible language that could “bridge worlds” and solder together all of humankind goes back to the late nineteenth century and the Esperanto movement of Ludwig Zamenhof (Schor 59). The expression of this ideal in the world of the visual picked up steam in the interwar years with designers and editors like Fritz Kahn, Gerd Arntz, and Otto and Marie Neurath. Their work transposing complex ideas into graphic form has been rediscovered as an antecedent to modern infographics, but the symbols they deployed were not to merely explain, but also help education and build international fellowship unbounded by spoken language. The Neuraths in particular are celebrated for their international picture language or Isotypes. These pictograms (sometimes viewed as proto-emojis) can be used to represent data without text. Taken together they are an “intemporal, hieroglyphic language” that Neutrath hoped would unite working-class people the world over (Lee 159). The Neuraths’ work was done in the explicit service of visual education with a popular socialist agenda and incubated in the social sphere of Red Vienna at the Gesellschafts- und Wirtschaftsmuseum (Social and Economic Museum) where Otto served as Director. The Wirtschaftsmuseum was an experiment in popular education, with multiple branches and late opening hours to accommodate the “the working man [who] has time to see a museum only at night” (Neurath 72-73). The Isotype contained universalist aspirations for the “making of a world language, or a helping picture language—[that] will give support to international developments generally” and “educate by the eye” (Neurath 13). Figure 3: Gerd Arntz Isotype Images. (Source: University of Reading.) The Isotype was widely adopted in the postwar era in pre-packaged sets of symbols used in graphic design and wayfinding systems for buildings and transportation networks, but with the socialism of the Neuraths’ peeled away, leaving only the system of logos that we are familiar with from airport washrooms, charts, and public transport maps. Much of the uptake in this symbol language could be traced to increased mobility and tourism, particularly in countries that did not make use of a Roman alphabet. The 1964 Olympics in Tokyo helped pave the way when organisers, fearful of jumbling too many scripts together, opted instead for black and white icons to represent the program of sports that summer. The new focus on the visual was both technologically mediated—cheaper printing and broadcast technologies made the diffusion of image increasingly possible—but also ideologically supported by a growing emphasis on projects that transcended linguistic, ethnic, and national borders. The Olympic symbols gradually morphed into Letraset icons, and, later, symbols in the Unicode Standard, which are the basis for today’s emojis. Wordless signs helped facilitate interconnectedness, but only in the most literal sense; their application was limited primarily to sports mega-events, highway maps, and “brand building”, and they never fulfilled their role as an educational language “to give the different nations a common outlook” (Neurath 18). Universally understood icons, particularly in the form of emojis, point to a rise in visual communication but they have fallen short as a cosmopolitan project, supporting neither the globalisation of Kantian ethics nor the transnational socialism of the Neuraths. Figure 4: Symbols in use. Women's bathroom. 1964 Tokyo Olympics. (Source: The official report of the Organizing Committee.) Counter Education By mid-century, the optimism of a universal symbol language seemed dated, and focus shifted from distillation to discernment. New educational programs presented ways to study images, increasingly reproducible with new technologies, as a language in and of themselves. These methods had their roots in the fin-de-siècle educational reforms of John Dewey, Helen Parkhurst, and Maria Montessori. As early as the 1920s, progressive educators were using highly visual magazines, like National Geographic, as the basis for lesson planning, with the hopes that they would “expose students to edifying and culturally enriching reading” and “develop a more catholic taste or sensibility, representing an important cosmopolitan value” (Hawkins 45). The rise in imagery from previously inaccessible regions helped pupils to see themselves in relation to the larger world (although this connection always came with the presumed superiority of the reader). “Pictorial education in public schools” taught readers—through images—to accept a broader world but, too often, they saw photographs as a “straightforward transcription of the real world” (Hawkins 57). The images of cultures and events presented in Life and National Geographic for the purposes of education and enrichment were now the subject of greater analysis in the classroom, not just as “windows into new worlds” but as cultural products in and of themselves. The emerging visual curriculum aimed to do more than just teach with previously excluded modes (photography, film and comics); it would investigate how images presented and mediated the world. This gained wider appeal with new analytical writing on film, like Raymond Spottiswoode's Grammar of the Film (1950) which sought to formulate the grammatical rules of visual communication (Messaris 181), influenced by semiotics and structural linguistics; the emphasis on grammar can also be seen in far earlier writings on design systems such as Owen Jones’s 1856 The Grammar of Ornament, which also advocated for new, universalising methods in design education (Sloboda 228). The inventorying impulse is on display in books like Donis A. Dondis’s A Primer of Visual Literacy (1973), a text that meditates on visual perception but also functions as an introduction to line and form in the applied arts, picking up where the Bauhaus left off. Dondis enumerates the “syntactical guidelines” of the applied arts with illustrations that are in keeping with 1920s books by Kandinsky and Klee and analyse pictorial elements. However, at the end of the book she shifts focus with two chapters that examine “messaging” and visual literacy explicitly. Dondis predicts that “an intellectual, trained ability to make and understand visual messages is becoming a vital necessity to involvement with communication. It is quite likely that visual literacy will be one of the fundamental measures of education in the last third of our century” (33) and she presses for more programs that incorporate the exploration and analysis of images in tertiary education. Figure 5: Ideal spatial environment for the Blueprint charts, 1970. (Image: Inventory Press.) Visual literacy in education arrived in earnest with a wave of publications in the mid-1970s. They offered ways for students to understand media processes and for teachers to use visual culture as an entry point into complex social and scientific subject matter, tapping into the “visual consciousness of the ‘television generation’” (Fransecky 5). Visual culture was often seen as inherently democratising, a break from stuffiness, the “artificialities of civilisation”, and the “archaic structures” that set sensorial perception apart from scholarship (Dworkin 131-132). Many radical university projects and community education initiatives of the 1960s made use of new media in novel ways: from Maurice Stein and Larry Miller’s fold-out posters accompanying Blueprint for Counter Education (1970) to Emory Douglas’s graphics for The Black Panther newspaper. Blueprint’s text- and image-dense wall charts were made via assemblage and they were imagined less as charts and more as a “matrix of resources” that could be used—and added to—by youth to undertake their own counter education (Cronin 53). These experiments in visual learning helped to break down old hierarchies in education, but their aim was influenced more by countercultural notions of disruption than the universal ideals of cosmopolitanism. From Image as Text to City as Text For a brief period in the 1970s, thinkers like Marshall McLuhan (McLuhan et al., Massage) and artists like Bruno Munari (Tanchis and Munari) collaborated fruitfully with graphic designers to create books that mixed text and image in novel ways. Using new compositional methods, they broke apart traditional printing lock-ups to superimpose photographs, twist text, and bend narrative frames. The most famous work from this era is, undoubtedly, The Medium Is the Massage (1967), McLuhan’s team-up with graphic designer Quentin Fiore, but it was followed by dozens of other books intended to communicate theory and scientific ideas with popularising graphics. Following in the footsteps of McLuhan, many of these texts sought not just to explain an issue but to self-consciously reference their own method of information delivery. These works set the precedent for visual aids (and, to a lesser extent, audio) that launched a diverse, non-hierarchical discourse that was nonetheless bound to tactile artefacts. In 1977, McLuhan helped develop a media textbook for secondary school students called City as Classroom: Understanding Language and Media. It is notable for its direct address style and its focus on investigating spaces outside of the classroom (provocatively, a section on the third page begins with “Should all schools be closed?”). The book follows with a fine-grained analysis of advertising forms in which students are asked to first bring advertisements into class for analysis and later to go out into the city to explore “a man-made environment, a huge warehouse of information, a vast resource to be mined free of charge” (McLuhan et al., City 149). As a document City as Classroom is critical of existing teaching methods, in line with the radical “in the streets” pedagogy of its day. McLuhan’s theories proved particularly salient for the counter education movement, in part because they tapped into a healthy scepticism of advertisers and other image-makers. They also dovetailed with growing discontent with the ad-strew visual environment of cities in the 1970s. Budgets for advertising had mushroomed in the1960s and outdoor advertising “cluttered” cities with billboards and neon, generating “fierce intensities and new hybrid energies” that threatened to throw off the visual equilibrium (McLuhan 74). Visual literacy curricula brought in experiential learning focussed on the legibility of the cities, mapping, and the visualisation of urban issues with social justice implications. The Detroit Geographical Expedition and Institute (DGEI), a “collective endeavour of community research and education” that arose in the aftermath of the 1967 uprisings, is the most storied of the groups that suffused the collection of spatial data with community engagement and organising (Warren et al. 61). The following decades would see a tamed approach to visual literacy that, while still pressing for critical reading, did not upend traditional methods of educational delivery. Figure 6: Beginning a College Program-Assisting Teachers to Develop Visual Literacy Approaches in Public School Classrooms. 1977. ERIC. Searching for Civic Education The visual literacy initiatives formed in the early 1970s both affirmed existing civil society institutions while also asserting the need to better inform the public. Most of the campaigns were sponsored by universities, major libraries, and international groups such as UNESCO, which published its “Declaration on Media Education” in 1982. They noted that “participation” was “essential to the working of a pluralistic and representative democracy” and the “public—users, citizens, individuals, groups ... were too systematically overlooked”. Here, the public is conceived as both “targets of the information and communication process” and users who “should have the last word”. To that end their “continuing education” should be ensured (Study 18). Programs consisted primarily of cognitive “see-scan-analyse” techniques (Little et al.) for younger students but some also sought to bring visual analysis to adult learners via continuing education (often through museums eager to engage more diverse audiences) and more radical popular education programs sponsored by community groups. By the mid-80s, scores of modules had been built around the comprehension of visual media and had become standard educational fare across North America, Australasia, and to a lesser extent, Europe. There was an increasing awareness of the role of data and image presentation in decision-making, as evidenced by the surprising commercial success of Edward Tufte’s 1982 book, The Visual Display of Quantitative Information. Visual literacy—or at least image analysis—was now enmeshed in teaching practice and needed little active advocacy. Scholarly interest in the subject went into a brief period of hibernation in the 1980s and early 1990s, only to be reborn with the arrival of new media distribution technologies (CD-ROMs and then the internet) in classrooms and the widespread availability of digital imaging technology starting in the late 1990s; companies like Adobe distributed free and reduced-fee licences to schools and launched extensive teacher training programs. Visual literacy was reanimated but primarily within a circumscribed academic field of education and data visualisation. Figure 7: Visual Literacy; What Research Says to the Teacher, 1975. National Education Association. USA. Part of the shifting frame of visual literacy has to do with institutional imperatives, particularly in places where austerity measures forced strange alliances between disciplines. What had been a project in alternative education morphed into an uncontested part of the curriculum and a dependable budget line. This shift was already forecasted in 1972 by Harun Farocki who, writing in Filmkritik, noted that funding for new film schools would be difficult to obtain but money might be found for “training in media education … a discipline that could persuade ministers of education, that would at the same time turn the budget restrictions into an advantage, and that would match the functions of art schools” (98). Nearly 50 years later educators are still using media education (rebranded as visual or media literacy) to make the case for fine arts and humanities education. While earlier iterations of visual literacy education were often too reliant on the idea of cracking the “code” of images, they did promote ways of learning that were a deep departure from the rote methods of previous generations. Next-gen curricula frame visual literacy as largely supplemental—a resource, but not a program. By the end of the 20th century, visual literacy had changed from a scholarly interest to a standard resource in the “teacher’s toolkit”, entering into school programs and influencing museum education, corporate training, and the development of public-oriented media (Literacy). An appreciation of image culture was seen as key to creating empathetic global citizens, but its scope was increasingly limited. With rising austerity in the education sector (a shift that preceded the 2008 recession by decades in some countries), art educators, museum enrichment staff, and design researchers need to make a case for why their disciplines were relevant in pedagogical models that are increasingly aimed at “skills-based” and “job ready” teaching. Arts educators worked hard to insert their fields into learning goals for secondary students as visual literacy, with the hope that “literacy” would carry the weight of an educational imperative and not a supplementary field of study. Conclusion For nearly a century, educational initiatives have sought to inculcate a cosmopolitan perspective with a variety of teaching materials and pedagogical reference points. Symbolic languages, like the Isotype, looked to unite disparate people with shared visual forms; while educational initiatives aimed to train the eyes of students to make them more discerning citizens. The term ‘visual literacy’ emerged in the 1960s and has since been deployed in programs with a wide variety of goals. Countercultural initiatives saw it as a prerequisite for popular education from the ground up, but, in the years since, it has been formalised and brought into more staid curricula, often as a sort of shorthand for learning from media and pictures. The grand cosmopolitan vision of a complete ‘visual language’ has been scaled back considerably, but still exists in trace amounts. Processes of globalisation require images to universalise experiences, commodities, and more for people without shared languages. Emoji alphabets and globalese (brands and consumer messaging that are “visual-linguistic” amalgams “increasingly detached from any specific ethnolinguistic group or locality”) are a testament to a mediatised banal cosmopolitanism (Jaworski 231). In this sense, becoming “fluent” in global design vernacular means familiarity with firms and products, an understanding that is aesthetic, not critical. It is very much the beneficiaries of globalisation—both state and commercial actors—who have been able to harness increasingly image-based technologies for their benefit. To take a humorous but nonetheless consequential example, Spanish culinary boosters were able to successfully lobby for a paella emoji (Miller) rather than having a food symbol from a less wealthy country such as a Senegalese jollof or a Morrocan tagine. This trend has gone even further as new forms of visual communication are increasingly streamlined and managed by for-profit media platforms. The ubiquity of these forms of communication and their global reach has made visual literacy more important than ever but it has also fundamentally shifted the endeavour from a graphic sorting practice to a critical piece of social infrastructure that has tremendous political ramifications. Visual literacy campaigns hold out the promise of educating students in an image-based system with the potential to transcend linguistic and cultural boundaries. This cosmopolitan political project has not yet been realised, as the visual literacy frame has drifted into specialised silos of art, design, and digital humanities education. It can help bridge the “incomplete connections” of an increasingly globalised world (Calhoun 112), but it does not have a program in and of itself. Rather, an evolving visual literacy curriculum might be seen as a litmus test for how we imagine the role of images in the world. 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