What does knowledge look like? Drawing as a means of knowledge representation and knowledge construction

Bowen, Tracey; Evans, M. Max

doi:10.3233/efi-150947

Cited by 12 publications

(13 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Even though it may be assumed that individuals from different age groups experience visual culture differently, previous findings demonstrate that participants use the same graphic objects and representations across age groups (Bowen and Evans, 2015). These graphic objects circulate within their culture and reflect shared meaning.…”

Section: Resultsmentioning

confidence: 99%

“…In previously reported findings, Bowen and Evans (2015) categorized each of the 838 drawings using Engelhardt's (2002) graphic representation types (see Table 1) and examined both the concrete and abstract graphic objects depicted in the drawings of knowledge. The findings emphasized common graphic objects repeatedly used in isolation (as pictures or symbols) and in combination with other objects (as a diagram).…”

Section: F I N D I N G Smentioning

confidence: 99%

“…For the most part, these graphic objects are familiar to, and shared within, the North American social and cultural communities in which the participants are situated. Despite collecting the data in a highly multicultural environment 1 and asking the research question in nine different languages, the researchers still collected a set of consistent and familiar (from a North American perspective) graphic objects (Bowen and Evans, 2015). The study participants may have chosen to use particular depictions because they had seen them before, and therefore concluded that these symbols were already circulating, and were accepted by others within the social group (i.e.…”

Section: E V E L O P I N G C O N T E M P O R a R Y H I E R O G L Y mentioning

confidence: 99%

“…This multidisciplinary visual communications research study focuses on interpreting and analyzing the graphic representation types and objects individuals use to depict the abstract concept of knowledge (Bowen and Evans, 2015). A total of 833 participants aged 5–65 years participated in the A total of 833 participants aged study by constructing a drawing to answer the question, ‘What does knowledge look like?’.…”

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

What does knowledge look like? Interpreting diagrams as contemporary hieroglyphics

Bowen

Evans

2018

Visual Communication

Self Cite

View full text Add to dashboard Cite

A significant challenge in interpreting and analyzing graphic representations is to understand the many reference points a graphically depicted object may have across its producer’s personal and cultural experiences. An individual’s exposure to socially constructed representations drives his or her propensity to use specific shared graphic objects, especially when attempting to articulate complex or abstract concepts. This multidisciplinary research study focuses on interpreting graphic representation types and analyzing the graphic objects individuals use to depict the abstract concept of knowledge. A sample of 833 individuals aged 5–65 participated in the study by constructing a drawing to answer the question, ‘What does knowledge look like?’. Engelhardt’s Language of Graphics (2002) graphic representation taxonomy was used to identify grouping and linking diagrams in the drawings. Next, graphic objects were coded and categorized within the drawings to identify the common representations, shared symbols, and non-depictive elements used to group and link. Using drawings fitting Engelhardt’s grouping and linking graphic representation types, and Tversky’s theories for constructing meaning through diagrams, this article examines how study participants combine and arrange common graphic objects to depict the concept of ‘knowledge’. The results illustrate that individuals organize and arrange common graphic objects into groupings to communicate taxonomies or hierarchies based on spatial proximity; or connect and link them together using glyphs (e.g. arrows, dotted or straight lines) to communicate causal relationships. The findings also demonstrate how individuals employ common socially constructed graphic representations (or objects) as a visual communication tool and, through the exercise of drawing, as a tool for meaning or sense making. The graphic objects possess a shared meaning that the participants have seen circulating within their culture. The common ground that emerges from sharing graphic objects suggests a form of contemporary hieroglyphics that communicates meaning both inside and outside the community.

show abstract

Section: Resultsmentioning

confidence: 99%

Section: F I N D I N G Smentioning

confidence: 99%

Section: E V E L O P I N G C O N T E M P O R a R Y H I E R O G L Y mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

What does knowledge look like? Interpreting diagrams as contemporary hieroglyphics

Bowen

Evans

2018

Visual Communication

Self Cite

View full text Add to dashboard Cite

show abstract

“…In continuation of this perspective, studies argue that for too long, written text has been privileged as a communication form in education, over e.g. visual, kinesthetic and haptic modalities (Bowen and Evans, 2015). By combining inquiry-and visual approaches in this exploratory study, we also want to challenge traditional assumptions about academic practices in higher education.…”

Section: Introductionmentioning

confidence: 98%

Spaces of Joint Inquiry Through Visual Facilitation and Representations in Higher Education: An Exploratory case study

Hautopp¹,

Ejsing-Duun²

2020

ECEL

View full text Add to dashboard Cite

This study investigates how the use of visual facilitation and representations, e.g. visualisations and video productions, combined with peer‑feedback sessions can create exploratory approaches to game design in online teaching. The article analyses an iterative game development process in an online learning context. The empirical data is primarily based on an explorative case study of “Games for change”; a course held in 2018 in which master students from the international Nordic Visual Studies and Art Education (NoVA) design games that address issues in society. Throughout the course, the students from universities in Finland, Sweden and Denmark engaged in a cross‑cultural collaboration across campuses. The purpose of the study was to explore how to establish an online space for joint design inquiry in the context of ‘games for change’ across time and space as well as cultural and professional barriers. The data used for analysis includes teaching observations, videos of play sessions, photos and visual representations, students’ reflection papers and students’ written and oral evaluations after completion of the course. The analysis is based on different problem‑based learning (PBL) activities; lectures, video instructions, presentation‑ and feedback sessions, reflexive exercises and students’ self‑directed design and learning processes in groups. As part of the game course, teachers presented game theory and exercises through videos and visualisations to support the students’ iterative game design processes. The analysis of the PBL activities shows that teachers’ video instructions relating theoretical game concepts to the students’ actual group work supported the introduction to the game field as well as their design processes. The balance between the value of video instructions with specific feedback and teachers’ time for preparation is a relevant issue for further exploration in online teaching. Moreover, findings show that the students’ visualisations and video productions exemplifying game situations created a visible reference point for further discussions in feedback sessions across campuses, which guided game development. Thus, the combination of inquiry approaches, critical game theory and design processes combined with students’ visualisations and video productions provides interesting connections for bridging gaps between cultures and professions, e.g. in art and games. By the rich and visual descriptions of PBL activities, student work and reflective evaluations, the exploratory case study can function as inspiration for applying similar approaches to new local contexts in higher education.

show abstract

Task-centered activities as an approach to data collection in research with children and youth

Barriage

2018

Library & Information Science Research

View full text Add to dashboard Cite

Children and youth are an important population for research and practice in library and information science. However, comparatively little research has been conducted that directly engages with the perspectives of these groups, particularly when children younger than school age are considered. Task-centered activities, a type of data collection method used in the field of childhood studies, offer a means of conducting research with children and youth in a way that builds on their strengths and competencies. Specific examples of task-centered activities include arts-based approaches; photography; drama, play, and games; child-led tours; diaries; and participatory activities. The benefits and limitations of these activities are discussed, as well as their prior and potential application in library and information science.

show abstract

What does knowledge look like? Drawing as a means of knowledge representation and knowledge construction

Cited by 12 publications

References 0 publications

What does knowledge look like? Interpreting diagrams as contemporary hieroglyphics

What does knowledge look like? Interpreting diagrams as contemporary hieroglyphics

Spaces of Joint Inquiry Through Visual Facilitation and Representations in Higher Education: An Exploratory case study

Task-centered activities as an approach to data collection in research with children and youth

Contact Info

Product

Resources

About