結論 結論
虛擬世界中的視覺文化並非對於真實世界的重建，它是一個透過設計者們 的想像力，而充滿著各種全球文化的一個空間。第二人生的視覺化虛擬世界，
透過所有虛擬世界使用者們的原始文化背景的結合，形成了第三文化。第三文 化是透過虛擬世界的使用者們進行發展、塑形與共享的系統。因此，為了要能 瞭解這個新文化，所有虛擬世界的使用者必須能夠解讀他們所見的視覺文化。
今日動態虛擬世界已蔚為風潮，再加上要降低在教育各個領域中所隱藏的 教義，在藝術教育中推廣視覺文化，成了一門重要的課題。根據 Gair 和 Mullins (2001)—「我們無法透過回溯或左右張望的方式來發現隱藏的教義；在大部分 的情形中，我們其實都可以很明顯地看到它(p. 23)」。視覺文化也影響著人們 透過視覺影像和彼此溝通的方式(Miller & Burton, 1994)。Myles (2004)指出：
「視覺系統也許能提昇孩童及青少年對於社會認知的能力，有助於他們瞭解自 己身處的環境，以及環境中潛在的教義(p. 19)」。虛擬世界中的影像通常會不 自覺地影響著人類的學習感受(Barry, 2006)。
McFee 和 Degge (1977)指出—當人們視覺經驗增加時，他們的心理生活 也會變得更為複雜。人類在融入視覺化的虛擬環境前，會不斷地對影像進行學 習，他們也會在理解了影像的本意後，再進而瞭解其內在含意(Semali, 2002)。
在虛擬環境中，所有的影像都是透過設計而加以創造，有其存在的意義(Zhai, 1998)。在視覺化的虛擬學習環境中，必須透過視覺文化的教授，呈現出影像 所潛在的教義。如同 Anderson (2002)所提及：「透過呈現，潛在的教義可隨 研究對象所採用(p. 117)」。
第三文化 : 教育 中的虛擬世界視 覺文化
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