"Gives practical guidelines to enable non-artists to make their own visual aids such as discussion starters, picture cards, flannelborads and community maps. Includes sections on common pictorial conventions; how to draw and use colour, how to copy and adapt pictures, how to make and use a range of
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people-Centred visual aids; and how to plan and conduct training workshops on visual communication. Also examines the failure of one-way 'message' driven communications, the neo-Colonial assumptions of research on visual literacy and promotes a 'people-Centred' alternative to building visual literacy skills and capacity." (Catalogue Intermediate Technology Publications 2000)
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"Myron J. Pereira, SJ, brings together his years of experience in Development Communication as the director of ASTHA, a department of the Xavier Institute of Communications, Bombay. In this book he deals with sound slides, video, audio-cassettes and posters, street-plays and puppets and how they can
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be effectively used to transform the society. Essentially this is a 'how to' book. Numerous media practitioners are not professionals in any way. They are teachers, pastors, social workers, community organizers and political activists. But they are aware of the influence of modern communications and they would like to improve their skills and widen their perspectives both in communication and with the media. The book is meant for them." (Back cover)
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"This manual has been written for the trained facilitator. It is designed to reinforce concepts and techniques learned in training of facilitators and trainers in participatory group processes. It is the rare individual who could simply study the manual and apply it. A great deal of practice and exp
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erience is needed before most of us become accomplished facilitators. If you are a trained facilitator and wish to use the methods and techniques outlined herein with a group of like-minded people who wish to experiment, you should have no problem. On the other hand, if you are going to use it with an external group who are not particularly familiar with participatory techniques, a good deal of discussion and planning is required. Above all, it is important for the professional facilitator to deeply understand the objectives of a group event. If you detect that top management has a particular agenda in mind and merely wants to transmit it to employees, or to manipulate their staff to a point of view for some unspoken reason, professional facilitators must explain that their job is not to manipulate, that VIPP methods involve true participation and that ulterior motives will become transparent in the process. It is better not to start a participatory process if those responsible are not prepared to accept a different outcome than they expect." (How to use this manual, page ix)
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"The book covers three main themes: 1. the relationship of interdependence between culture, education and communication; 2. the need for participatory processes in sustainable development, and 3. the crucial importance of culturally appropriate communication systems and approaches to education and t
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raining. These themes are discussed from a general, rather theoretical perspective in the first two chapters. The rest of the book has these themes recurring in discussions of specific development strategies, perception studies, and the various media used for development." (https://www.ircwash.org/resources)
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"Ein Bild sagt mehr als 1000 Worte. Das stimmt, aber leider nur in ganz wenigen Bereichen, wo die Gestalt, die oberflächliche Beschaffenheit der Dinge im Brennpunkt der Betrachtung steht. Meist ist es aber andersherum, Worte sind viel aussagekräftiger und als Kommunikationsmittel viel universeller
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als Bilder. Und erst die richtige Kombination von Wort und Bild ist dem einzelnen Medium überlegen, und das gilt in Schriftkulturen ebenso wie in der Kommunikation mit Analphabeten. Die wahren Potentiale der Bildkommunikation werden meistens überschätzt und andererseits nur selten voll ausgeschöpft. Hier setzt dieses Buch an, und versucht Aufklärung in historischer und universeller Sichtweise. Das Verständnis der europäischen Mediengeschichte soll es leichter machen, sich in die noch überwiegend orale Welt Afrikas zu versetzen und eine systematische Beschreibung der Möglichkeiten und Grenzen der Bildkommunikation setzt den allgemeinen theoretischen Rahmen. Entsprechend einer situationsfunktionalen Herangehensweise werden danach Grundfragen der Kommunikation mit Analphabeten angesprochen und die Rahmenbedingungen der Kommunikationssituation von Programmen und Projekten der ländlichen Entwicklung in Afrika beschrieben. Darauf aufbauend folgen zwei zentrale Beispiele, wie bildgestützte Kommunikation schon erfolgreich in Afrika entwickelt und eingesetzt wurde. Deren kritische Betrachtung und vergleichende Analyse führt dann zusammen mit den angewandten Grundlagen zu praktischen Empfehlungen." (Verlagsbeschreibung für die zweite Aufl. 2000)
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"En 1980, se inició un proceso de producción de audiovisuales en el Departamento de Comunicaciones del Ministerio de Desarrollo Agropecuario y Reforma Agraria de Nicaragua. El presente trabajo forma parte de ese proceso [...] Consta de tres partes. La primera abarca aspectos del proceso de comunic
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ación y del lenguaje. En la segunda, se desarrolla un manual de producción de audiovisuales. La tercera parte trata sobre aspectos prácticos y adicionales del trabajo con audiovisuales." (Cubierta del libro)
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"Konkrete Erfahrungsberichte und praxisorientierte technische wie methodische Anleitungen zur Erstellung einer Tonbildschau." (commbox)
"The monograph, as the name suggests, is about visual literacy, communication and visual design. It goes beyond mere definition and does more than provide a theoretical framework. The monograph relates to the practical concerns of designing culture-oriented visual materials for use in functional lit
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ercy and development communication in different cultures and countries. The guidelines are intended to be useful to all designers of visual materials whatever their cultural setting. The message is: read your own culture and understand your own visual language as you design visual messages for use in your particular cultural setting." (Page 8)
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