Various Elements of Modality in Wiesner, Hurricane, and Wiesner June 29, 1999 - Coursework Example

Surname: Professor’s name: Course: Date of submission: Abstract Multi-modality and non-verbal expression is often stifled in normal education. This can be attributed to the dominance of written and literal language. Nonetheless, visual or non-written languages are important in making cognitive links that are essential in learning. Art as an example of a multi modal medium integrates visual and text; hence, it provides a unique and a special connection between emotion and thought that cannot be found anywhere else in a normal institutionalized education curriculum. This paper discusses the various elements of modality, its foundation principles, its use in books and why it is important as a medium of learning. It expounds on children’s understanding through visual and literal modalities. Comparison Wiesner, Hurricane & Wiesner June 29, 1999 It is now a widely accepted phenomenon that literacy cannot be confined to the language alone. The development of literacy must incorporate the use of images in both paper and electronic educational publications. As has been the norm, governments have always outlined specific instructions in curriculum as concerns grammar to teachers. The same, however has never been so explicitly outlined when it comes to modality in children’s books. There is need for concerted effort in development of images and image/text educational materials as part of curriculum and syllabus. In analysis of the two books; Wiesner, Hurricane & Wiesner June 29, 1999, it is essential to discuss the various aspects of modality configurations implemented in the two books. Elements such as image texture, image brightness, image depth, image illumination, color saturation, color modulation, color differentiation, image representation and contextualization will be to decipher the underlying meaning and expression. To begin, both books use single page and double page layout with images occupying more space. The most clear distinctive difference between the two books comes from the kind of imagery used. Wiesner June 29, 1999 primarily uses inanimate objects while Wiesner, Hurricane is animate and focuses on living things. In Wiesner, June 29, 1999, we see limited color intensity or saturation. The images are dull and less expressive. The emotions being expressed in this book are more of sad and forced. The pictorial element in this book seems to focus on intensive complex learning. The coloration is fairly bland which reinforces the previous point of how inanimate the entire pictorial is. A particular example is the girl who seems to be conducting wild experiments. On the background we can see a hazy blue sky, several hot air balloons strewn across varying vertical distances. In the house, the pictorial provides a highly concentrative scenario; a back ground of periodic table, foreground of apparatus working out an experiment. From an interpretive point of view the picture is dull; even though the atmosphere outside appears sunny the overall representation of the image is less lively. The texture of the entire image is also not fine grained and in overall it contributes to the blandness of the image. The image of the experimenting girl will be juxtaposed with the cover page of Wiesner, Hurricane which is not any bright either. The atmosphere represented on the cover page is sullen and indicatively less expressive. There are two children and a cat seemingly detained indoors by the pounding rains. Their presence in the window shows their impatience with rain. The texture in this image is also arguably dull. However, there is a distinctive difference when it comes to the expressed activity; Wiesman, June 29, 1999 displays intensive activity, higher level of commitment by characters in their activity. On the other hand Wiesman, Hurricane displays a height of inactivity. Both images use dark colors with a particular concentration of one particular color; Wiesman, June 29, 1999 is mostly sky blue while Wiesman, Hurricane is mostly dark. Characters in the latter are apprehensive while the main character in the former very concentrative and contemplative. There is a picture in Wiesman, June 29, 1999 where there are children in a classroom. This is one of the images in this books that is heavily created with depth. There is a teacher in the background with a crooked smile; a number of children are in the classroom gazing to the front. Looking closely at these children a lot can be deciphered from their facial experiences. The girls in the background seem perturbed; this is visible from their gazing eyes. The two black boys are deeply in a concentrative mood. It is only possible to bring out all these emotions by varying coloration and color differentiation. The texture differences aptly capture the facial expressions and bring out the different attitudes in the children. The depth of the imagery is critical to relay all the information coming out of this artwork. Comparatively in Wiseman’s Hurricane, the image of unusually grotesque trees on windy background display lack of depth. The images on this page express their message simply and easily. The artist uses color modulation and color intensity to differentiate the foreground from the back ground. The hazy images with less intense colors represent the background while the more intensive and bright colors represent the foreground. This artist largely uses dark coloration in the image; there is less variety in color usage. This makes the images dull and less appealing; nonetheless, the core theme of the book is retained. The sullen sadness and inactivity permeates throughout the image. This provides a distinctive contrast with the image in Wiesman, June 29, 1999 which even though is similarly less bright is full of intensive activity and depth. The use of illumination comes out in the dreamland picture of a child in the bushes. There is a winding path at the central ground where the child gallantly stands waving at a white background. The white, hazy, smoke like winding in the foreground is only possible through the use of illumination. The clearly visible depth in the background is also brought about by power of illumination. In this image it seems the artist uses the power of illumination to express the intended message; the clouds in the distant background illuminated by the sun, the hills also seem to be basking in the sun and the hazy smoke is also being illuminated by the sun. In contrasting the use of illumination in Wiesman, June 29, 1999 and Wiesman, Hurricane we’ll use the picture of the kids in the house gazing towards the invisible object. In the background we can see a window with raindrops visible. In the foreground, we can see a torch emitting light. The switch in the middle ground also seems to have light flashing on it. The children’s faces in the foreground are also bright; it appears whatever they are looking at is reflecting on their faces. This is one of the few images in these books where brightness is clearly evident. This is only achievable by a skilled use of the art of illumination. The use of illumination in this picture and the picture in Wiesman, June 29, 1999 is similar in different ways. In both cases they are used to bringing out emotions and give some life to otherwise very dull scenes. The power of representation is evidently used in flying cabbages. The Wiesman June 29, 1999 uses much of this kind of representation. We’ve seen that in the previously analyzed image there is usage of objects that are not realistic in nature but he harmoniously integrates them to be part of nature. In this case, there is a long winding road; along the road there are power lines. In the background, we can see trees and the houses. However, the interesting feature here is the flying cabbages; the nearer ones seem to have larger than life sizes while the distant ones are unusually tiny. This is a clear use of representation; it might not be clear what this objects mean, but to children they represent imagination and fascination with the unknown. In Wiesman, Hurricane use of representation is evident in the picture where the wind is blowing away twigs and leaves. In the background, we have a largely silent house partially covered by trees. Having looked at the previous images showing the indoors, looking at these images portrays the level of the storm. The empty outdoors shows that the hurricane is strong and everyone has moved indoors. Therefore, as one reads the text, the image reinforces an understanding and comprehension. There is a slight difference though in usage of representation with the image in Wiesman, June 29, 1999. In this case there is no use of unrealistic objects; the texture and contextualization delivers the message. In Wiesman, Hurricane, as the story continues there is an increasing use of symbolism and depth. First, the large image of a man carrying a package leaves a lot to be interpreted. Only the package is fully visible and the mid section of the man. The package which most likely contains food becomes the key story of the image; the image shows how lucky the man was able to arrive with the food. This also serves as use of representation to put through a story that would otherwise take a lot of words. In the same Wiesman, Hurricane, the same mid section of the man is shown, but in this case the man is lying on a sofa. Depth and representation tells the story of this one as well; one can read resignation and helplessness. This man who probably is the father of the children cannot do anything to remedy the situation and he’s left to wait it out until the storm ends. The text combined with the image makes the story very interesting; the combination makes it easy to communicate to children as they read less text and engage their imagination in understanding the image and interpreting it. This all happens subconsciously and it works to enhance the learning in children. Comparatively, looking at Wiesman, June 29, 1999, an almost similar image is the one where the larger than life image of an uprooted carrot takes the centre stage. The artist combines several techniques; texture variation, color saturation and illumination to bring out the story. The hazy background, the sullen trees in the foreground and the unrealistic carrot can probably be interpreted as too complex for children. However, this is not the case, this kind of image uses grotesque objects to develop or create children’s imagination. This kind of image will get them thinking, is this real; how is it possible to have a carrot larger than trees in the forest, where possible could these be. Questions like this one develop interests and enable children to engage each other in learning. It is true this kind of image does not espouse much representation, it tells its story nonetheless in a simple imaginative way. Another image that elicits almost similar emotions is found in Wiesman, Huricane. There are children standing on the inside of a window with a cat next to them. They all look aloof, helpless and scared. Another image in the same book is where the children are inside the house while the cat is outside as the storm rages. In both symbolism is rife; the expression on the children indicates they are anxiously waiting for someone to come. We ask ourselves where the parents are and wherever they are, are they safe in this raging storm. Worry is painted in the children’s faces and that acts as a powerful symbolism in telling the story of the picture. In the image where the cat is outside and the children are looking at it from the inside we see the power of symbolism. The children want to open the door for the cat to come in; however, twigs flying around show there is a powerful wind outside. The dilemma in the children is palpable and equally fascinating. We wonder how they will do it, will they risk the wind and let the cat in. Telling a story with such simple and powerful symbolism is absolutely necessary to foster imagination in children. Reading Wiesner, June 29 1999, it is difficult to know what to expect. The title is unique and interesting and serves as the primary source of fascination. It gives the reader the false impression that the book is focused around a particular date in history. This makes it even more difficult to anticipate what could be in it. This book is very intriguing and utilizes all aspects of modality to tell the story. It keeps a reader turning the pages by arousing their curiosity. The illustrations used are the best. The detail with which artist paints the foreground, the centre ground and the background is absolutely amazing. Objects in these pictures give the reader a perfect understanding and knowledge of the books, keeping a reader intrigued throughout the story. A good example is the pictures of Holy’s (the girl doing experiments) surroundings; they immediately tell the reader of someone who is talented and extremely committed to her work. This makes the reader to want to know more about her. A book like this is highly appropriate for a science class; the imagery used of a girl roughly the same age as the intended audience and the storyline about seedlings and experiments will resonate well with the audience. Reading a story about a child their own age working out a considerably large science project will spur them to learn. In Wiesners, Hurricane we have a wonderfully illustrated and written adventure story. The two books differ in this point; while Wiesner, June 29, 1999 is deep science, Wiesner, Hurricane is an adventure story. Granted, a subject such as a Hurricane might not be easily comprehended by children. However, by use of simple and deftly crafted pictures Wiesner takes us through the adventure and the emotions that come with. He makes it very interesting, fascinating and intriguing. In Hurricane, Wiesman has relied more on text to develop the story as compared to image, this is a departure from his other books especially Wiesman, June 29, 1999 where image is the main driver of the story. An example text is, “Cats know more about storms that people do but if it makes you feel better why don’t you put the groceries away and go look for him.” A bit of imagery is anchored in this text; telling the kids that cats are also perceptive and can understand storms is very representative. This kind of texts makes it easier for children to relate with the story and all the characters better. Both Wiesman, June 29, 1999 and Wiesman, Hurricane, the author deliberately uses particular kind of texts. In rare passages do you find complexity in texts; every scene is described with simple sentences and words. This works for children in a major way as their cognitive skills are still not yet well developed. Nonetheless, the writer occasional throws in complex anchor texts here and there I the book. This makes the book conducive for gradual learning; the text is simple enough to enable children to continuously read while at the same time it provides something new for them to learn. Conclusion The two books by the same author are by no doubt great works. They both show the significance of multi modality in helping children organize and understand their environment. Children learn better by visualizations as most of the time their language is not well developed. Their visualization is usually better developed and easily stimulated through visual objects. Communication via pictures and drawings enable children’s capacity of representational thinking to grow. It enables the symbolism of one medium to supplement and inform the other medium. Pictures and text work together in a story to reinforce the meanings of each other. When children use more than one symbolism at the same time, they are mentally able to manipulate ideas and emotions portrayed in reality or imagination. Works Cited B, Kress. Multiliteracies: Literacy learning and the design of social futures. South Yarra, Victoria: Macmillan, 2000. H, Gardner. Frames of mind: The theory of multiple intelligences. New York: Basic Books, 1983. J, Bruner. Actual minds, possible worlds. Cambridge, MA: Harvard University Press. 1986. J, Gee. “Literacy, discourse and linguistics.” Journal of Education, (1989). J, Ross. "Arts education in the information age: A new place for somatic wisdom." Arts Education Review, (2000). R, Arnheim. Visual Thinking. Berkeley: University of California Press, 1969. S, Langer. Philosophy in a new key: A study in the symbolism of reason, rite, and art.. Cambridge, MA: Harvard University press, 1971. Read More