Reading Visual Arts Guide

College of Arts and Sciences Education
2nd
Floor, DPT Building
Matina Campus, Davao City
UNIVERSITY OF MINDANAO
Languages Discipline
Physically Distanced but Academically Engaged
Self-Instructional Manual (SIM) for Self-Directed Learning (SDL)
Course/Subject: GE 20: Reading Visual Arts
Name of Teacher: Prof. Jennifer Payot
THIS SIM/SDL MANUAL IS A DRAFT VERSION ONLY. THIS IS NOT FOR

SALE AND NOT FOR REPRODUCTION AND DISTRIBUTION OUTSIDE OF
ITS INTENDED USE. THIS IS INTENDED ONLY FOR THE USE OF THE
STUDENTS WHO ARE OFFICIALLY ENROLLED IN THE COURSE/SUBJECT.
EXPECT REVISIONS OF THE MANUAL.
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Table of Contents
Page
Course Outline
Course Outline Policy

Unit Learning Outcomes (ULO-b)
Metalanguage 39
Essential Knowledge 40
1. Communication and the Visual 41
1.1.Seeing and Sense 41
1.2. Images and Sign 41
1.3. Images and Meaning 41
1.4. Reading the Real 41
1.5. The Reality Function 41
2. Visual Narratives 42
2.1. What is Narrative 42
2.2. Plot and Narrative 43
2.3. Time and Narrative 43
2.4. Content and Narrative 44
2.5. Everyday Life as Narrative 45
2.6. Image into Text 45
3. Visual Art, Visual Culture 46

3.1.The Identity of Art 46
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3.2.. Reading Artworks 47

3.3. The Fields of Artistic Production 47
3.4. Aesthetic Judgment 48
3.5. Aesthetic Pleasure 48
ULO-b Activities 50
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Course Outline: GE 20 – Reading Visual Arts
Course Coordinator: Payot, Jennifer

Email: jpayot@umindanao.edu.ph
Student Consultation: Done by online (LMS) or thru text, emails, or calls
Mobile: 09089119043
Effectivity Date: May 2020
Mode of Delivery: Blended (On-Line with face to face or virtual sessions)
Time Frame: 54 hours
Student Workload: Expected Self-Directed Learning
Requisites: None
Credit: 3
Attendance Requirements: A minimum of 95% attendance is required at all
scheduled Virtual or face to face sessions.
Course Outline Policy
Areas of Concern Details
Contact and Non-contact Hours This 3-unit course self-instructional manual is designed
for blended learning mode of instructional delivery with
scheduled face to face or virtual sessions. The
expected number of hours will be 54, including the face
to face or virtual sessions. The face to face sessions
shall include the summative assessment tasks (exams)
if warranted.
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Assessment Task Assessment tasks shall be on the 3rd, 5th, 7th, and
9th weeks of the term. It is also expected that you
already paid your tuition and other fees before the
submission of the assessment task.
If the assessment task is done in real-time through the

features in the Blackboard Learning Management
System, the schedule shall be arranged ahead of time
by the course coordinator.
Turnitin Submission To ensure honesty and authenticity, all assessment

tasks are required to be submitted through Turnitin
with a maximum similarity index of 30% allowed. This
means that if your paper goes beyond 30%, the
students will either opt to redo her/his paper or explain
in writing addressed to the course coordinator the
reasons for the similarity. In addition, if the paper has
reached more than 30% similarity index, the student
may be called for disciplinary action following with the
University’s OPM on Intellectual and Academic
Honesty.
Please note that academic dishonesty such as cheating

and commissioning other students or people to
complete the task for you have severe punishments
(reprimand, warning, and expulsion).
Penalties for Late Assignments/ The score for an assessment item submitted after the
Assessments designated time on the due date, without an approved
extension of time, will be reduced by 5% of the possible
maximum score for that assessment item for each day
or part-day that the assessment item is late.
However, if the late submission of the assessment

paper has a valid reason, a letter of explanation should
be submitted and approved by the course coordinator.
If necessary, you will also be required to present/attach
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pieces of evidence.
Return of Assignments/ Assessment tasks will be returned to you two (2) weeks
Assessments after the submission. This will be returned by email or
via the Blackboard portal.
For group assessment tasks, the course coordinator

will require some or few of the students for online
or virtual sessions to ask clarificatory questions to
validate the originality of the assessment task
submitted and to ensure that all the group members
are involved.
Assignment Resubmission You should request in writing to the course coordinator

his/her intention to resubmit an assessment task. The
resubmission is premised on the student’s failure to
comply with the similarity index and other reasonable
grounds such as academic literacy standards or other
reasonable circumstances e.g. illness, accident, or
financial constraints.
Re-marking of Assessment Papers You should request in writing addressed to the program
and Appeal coordinator your intention to appeal or contest the
score given to an assessment task. The letter should
explicitly explain the reasons/points to contest the
grade. The program coordinator shall communicate
with the students on the approval and disapproval
of the request.
If disapproved by the course coordinator, you can

elevate your case to the program head or the dean with
the original letter of request. The final decision will
come from the dean of the college.
Grading System All culled from BlackBoard sessions and traditional

contact:
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Course discussions/exercises – 30%

1st formative assessment – 10%
2nd formative assessment – 10%
3rd formative assessment – 10%
All culled from on-campus/onsite sessions (TBA):
Final exam – 40%
Submission of the final grades shall follow the usual

University system and procedures.
Preferred Referencing Style Use the 7th Edition of the APA Publication Manual
Student Communication You are required to create a umindanao email

account, which is a requirement to access the
BlackBoard portal. Then, the course coordinator shall
enroll the students to have access to the materials and
resources of the course. All communication formats:
chat, submission of assessment tasks, requests, etc.
shall be through the portal and other university
recognized platforms.
You can also meet the course coordinator in
person through the scheduled face to face sessions
to raise your issues and concerns.
For students who have not created their student email,
please contact the course coordinator or program
head
Contact Details of the Dean DR. KHRISTINE MARIE D. CONCEPCION

Email: artsciences@umindanao.edu.ph
Phone: (082)300-5456/305-0647 Local 134
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Floor, DPT Building
Contact Details of the Program DR.EDWIN L. NEBRIA

Head
Email: edwin_nebria@umindanao.edu.ph
Phone: 0943-402-4160
Students with Special Needs Students with special needs shall communicate with
the course coordinator about the nature of his or her
special needs. Depending on the nature of the need,
the course coordinator, with the approval of the
program coordinator, may provide alternative
assessment tasks or extension of the deadline for
submission of assessment tasks. However, the
alternative assessment tasks should still be in the
service of achieving the desired course learning
outcomes.
Instructional Help Desk Contact DR. KHRISTINE MARIE D. CONCEPCION – Dean

Details
Email: artsciences@umindanao.edu.ph
Phone: (082)300-5456/305-0647 Local 134
Library Contact Details Brigida E. Bacani

Email: library@umindanao.edu.ph
Phone: 0951 376 6681
Well-being Welfare Support Held Carizza Mari C. Tinanac

Desk Contact Details
Email: crizzamari_tinanac@umindanao.edu.ph
Phone: 0977 805 8911
Course Information: see/download course syllabus in the Blackboard LMS

Welcome to this course GE 20: Reading Visual Arts.
CC’s Voice:
You have seen around you the diverse forms of arts. How do we gaze at
them and interpret the arts depend on our everyday experiences? It is good to note
that “to see is to believe”, however, the process of understanding lies not on the
peripheral aspect of an artwork but what is within. Thus, our central concern is to
make sense of the importance of visuality to what people say and do., and how,
they act in their everyday lives.
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Reading the Visual Arts enables you to have an ability to innovate, appreciate,
CO critique, and analyze. Through transdisciplinarity and multimodal approaches, this
course equips students with broad knowledge of the human disciplines that
characterized modernity, cultural studies that underpinned modern life.
Knowledge on the tacit understandings people have of the visual domain,
cultivate their imagination, make sense of the importance of visuality, explore the
effect the idea of aesthetics has on reading of visual texts, analyze the economic
effects of a globalized market, and illustrate explanations and arguments with images
and anecdotes that are highly eclectic.
This course helps you to identify the basic elements and principles of reading
visual art, visual technologies and understand its meaning.
Big Picture in Focus:
This will enable you to exemplify imaginative ability which are essential in
communication and the visual and the visual narratives.
ULO-b. Exemplify imaginative
It also abilityanalytical
helps you apply which is essential in communication
and critical andboth
skills in describing the visual
Visual
and the
Arts and communication literacy.visual narratives.
This will produce innovative and highly eclectic presentations using the
modern technologies and different facilities of arts.
Metalanguage
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For you to exemplify ULO-b, you will need to have an operational understanding of the
following terms below. You will encounter these terms as you go through this topic. Please
refer to these definitions in case you encounter difficulty in understanding some concepts.
1. Seeing. Is on the one hand an automatic, physiological function we perform

without thinking and, on the other, a complex and absorbing process.
2. Seeing Subjects. Human beings whose feature characteristics are that they access
the physical and intellectual world through vision.
3. Postmodernism. A set of theories and practices which describe the contemporary

world as a kind of MTV clip, a plethora of images whirling in promiscuous
uncertainty
Essential Knowledge
To perform the aforesaid unit learning outcome, you need to fully understand
the following essential knowledge that will be laid down in the succeeding pages.
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1. Communication and the Visual
1.1 Seeing and Sense.
 Eyes in particular fascinate us. They are the ‘windows to the soul’.
 According to Mirzoeff, “human experience is now more visual and

visualized than ever before”.
 Human beings have always lived in a world that is packed with visual
objects and phenomena and have always looked at and made sense of
the things about them.
(See pp. 60-61, Reading Visual PDF for more details)
1.2 Images and Sign
 We are no longer as visually complex people in earlier periods not

because there are now fewer visual texts or because the texts are simpler
in design, but because we make sense of the world by using non-visual
analytical devices.
 “Linguistic turn”- a move within the Humanities to focus almost

exclusively on literary texts, and to use the analytical devices associated
with literary texts to make sense of society, visual images, individual
psychology and so on.
 All social practices, in other words, were understood as meaning-making

practices, or semiotic events.
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 Under this analytical principle, visual texts are considered to

communicate according to linguistic rather than iconographical rules.
 Semiotics is certainly an effective tool for analysis because it deals with

signs-anything which stands for something- and in general, even obscure
visual images can easily be imbued with some meaning.
(see pp. 62-64 for further reading)
1.3 Images and Meaning
 Semiotic principle of analyzing signs is attractive because it makes good

sense in terms of how people approach texts, and it has been thoroughly
texted over a considerable period of time.
 Though it is usually associated with French linguist Ferdinand de Saussure

and his Course in General Linguistics (1997), the idea of language as a
series of signs is found as early as Aristotle, who defined the human voice
as semantikos psophos, “significant sound”, or sounds that make
meanings.
 Semiotic its basic principle is that language is not simply a naming device,
but rather a differentiated symbolic system.
(See pp. 64-66 of Reading Visual for further details)
1.4 Reading the Real
 Science tends to understand that is real as that which can be observed,

demonstrated and proven, while the media use terms like “reality” in
rather nebulous manner, equating reality with what is happening in the
“real world” with what “everyone thinks” or with the “voice of the
people”.
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 When it comes to visual culture, the term “reality” is usually a shorthand

way of saying that some representation is “true to life”
 What is meant by “true to life” itself depends itself on culture and context.
 The ancient Greek notion of mimesis, or the imitation (the reproduction)

of reality, which in effect posits that the objects we see are only
limitations of an ideal form.
 Aristotle insisted that the pleasure of realist works in in “learning”,

“inferring” and “identifying”.
1.5 The Reality Function
 So, truth-to-reality, transparent communication, tradition, or utility are

not the only ways to understand visual representation.
 We cannot rely on the evidence or the authority of our eyes to tell us the
truth of what we are seeing, it can be argued that what reality means in
visual culture is simply a means of communication (it’s real, or like reality,
because it’s telling us something true).
2. Visual Narratives
 “A picture paints a thousand words” and this is the issue we deal with in this
chapter: the degree to which pictures-visual culture-can communicate or present
not just forms, but stories too.
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 In the earlier chapters, “reading” visual texts, and this expression alludes to the
notion that pictures, images and visual objects more generally are not just to be
looked at, but contain a story, or a body of information, which we can access as
we might access the content of a written text.
 There is very little in the literature to indicate what is meant by “narrative
picture”, or how such an object relates to what we know of narrative more
generally.
 This chapter explores what constitutes narrative, what its various elements are
and how these elements work together.
2.1 What is Narrative
 Narrative in its simplest form means ‘story’. But of course, it is more

complex: the word comes from the Latin narrare, ‘to relate’, so it
denotes both what is told and the process of telling.
 Narratology is the study of narrative. It begins with the ancients, and with
works such as Aristotle’s Poetics. More recently, it has been associated
with structuralists like Gerard Genette and Roland Barthes’ early writings.
 Narrative theorists agree that the first, and central, issue about narrative
is that stories always operate within a social context. The way we
organize the content of a narrative, what elements it must have, who
reads it, where it is read and what it seems to be saying are all
determined by its cultural context.
2.2 Plot and Narrative
Basic Elements of Story
a. Plot-what happened and why

b. Narrator -the point of view from which it is told
c. Characters- human or otherwise
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d. Events-everything in the story that happens to or because of the characters

e. Time and place in which those events take place, and the causal relations
which link the events together
(Read further pp. 84-85 of Reading Visual for more details)

2.3 Time and Narrative
 Time- the most important design tools according to the theorists of

narrative.
 As Berger stated that ‘narratives, in the simplest sense, are stories that
take place in time-although it is difficult to think of a story that doesn’t
take place in time. And Shlomith Rimmon-Kenan agrees that ‘time itself is
indispensable to both story and text.
 Time, in short, cannot be ‘told’ in visual texts or even in narrative pictures;

we can only infer it from the structure of the visual text, and the
arrangement of its parts.
(Read further the details from pp. 86-87 from Reading Visual)
2.4 Content and Narrative
 Time is not the only issue in visual stories.
 Narrative can also be implied or identified in a visual text by devise such

as the arrangement of the iconography or the use of perspective to
provide a central focus.
 The use of light particularly structures the reading of the narrative:

lightning draws attention to particular features in a text, and ensure we
make sense of the images.
i. Bright colors and whimsical drawing style-for
fantastical sense
ii. Dark images convey melancholy
iii. Black and white signals a particular aesthetic
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 Another way of organizing and conveying narrative in a visual image is to

depict characters making expressive movements.
 Visual texts also use figures and techniques to convey stories through
conventions known by most people in a society. The use of literary (and other)
allusions is one approach.
 The known story and the produced image, which narrative theorists term
respectively fabula and sjuzet.
 Fabula is the actual sequence or (perhaps imaginary) events in a text. It is

often difficult or impossible to identify the sjuzet in a visual text with any
certainty, but if the fabula, the ‘prestory’, is well known and sufficiently
indicated in the images.
(Read further pp. 88-89 from Reading Visual PDF)
2.5 Everyday Life as Narrative
 Every text belongs within a genre-there cannot be a text without genre.
 In a similar vein, we can say that narrative pervades all of life-there

cannot be life without narrative. This is not because everyone’s life is
necessarily structured like a narrative.
 Narrative is there not because it is inherent in life, but because it

envelops us and structure our practice, or our experience of practice.
 ‘good writing’ is mimetic (it shows’) and not diegetic (that is, it doesn’t
tell)
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2.6 Image into Text
 Analyze this adage- “Pen is mightier than swords.”
 The visual texts that most obviously rely on verbal language-outside of

films and videos, that is- are comic strips and graphic novels, which can
be defined as ‘open-ended dramatic narrative about a recurring set of
characters, told in a series of drawings, often including dialogue in
balloons and narrative text.
3. Visual Art, Visual Culture
Introduction:
 Paintings, sculptures, drawings, and art photography though part of the

general field of visual culture, are often seen as somehow outside or beyond
that everyday world of advertisements, television shows, magazines, and
family snapshots.
 Art is generally an extremely visual field, or set of practices, even if we look

outside the obvious candidates of painting, drawing and sculpture.
3.1. The Identity of Art
 Art- is something peculiar to human culture, the word itself is

etymologically related to ‘artificial’ or produced by human beings.
 The meaning of art evades firm definitions. In earlier periods the word
‘art’ means anything people did that required skill was an art.
Medieval or Renaissance writers, for instance, refer to the arts of war,
conversation, or smiting, and what we now call ‘artists’ were then just
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artisans-ordinary workers who applied their specialized skills within

collectives or guilds.
(See pp. 105-106 of Reading Visual PDF for details)
3.2. Reading Artworks
 Appropriate literacies to read the artwork

A. Form- anything to do with its production that is not
associated with its meaning-making.
i. Medium
ii. Compositional elements
iii. Color
iv. Line
v. Shape
vi. Texture
 The technical aspects of its production and allows us to begin

the process of unpacking the work-classifying, categorizing,
and critiquing it.
B. Examine the Content
i. What the work is about
ii. What it is saying
iii. Other issues to which it might be referring (including
intertexts)
iv. Its subject matter and;
v. Elements such as figure, genre, and narrative
C. The context in which it was made and disseminated
and is now being read.
(Read pp. 108-110 of Reading Visual PDF for details)
3.3. The Field of Artistic Production
 Bourdieu states that art can be understood as comprising a cultural

field, which he calls the ‘field of cultural production’.
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 Field means everything that is done, and everyone involved in doing it,
within a discrete area of social practice.
 The following are the field of artistic production

1. Institutions (art museums, publishing houses, public relations
firms, government arts bodies)
2. People (artists, curators, directors, conservators, promoters)
(See pp. 110-112 of Reading Visual for more details)
3.4. Aesthetic Judgment
See Figure 5.8 (pp. 126 of Reading Visual PDF): Madonna and Child with
Infant John the Baptiste by Domenico Beccafumi
 Immanuel Kant who is closely identified with the discipline of

aesthetics, associated sound understanding with judgement (in The
Critique of Judgement 1790); in his estimate, the ability to judge
works of art is dependent upon the clarity of thought and knowledge,
and not on the emotions.
 He reiterated, beauty, was not simply something that might bring

pleasure. In his book ‘Analytical of Beauty’, he stated that, “the
delight which determines the judgement of taste is independent of all
interest.
 Seeing something as beautiful meant seeing it as an image, rather

than as a real object.
 The aesthetic object was to be regarded in terms of formal qualities

(its harmony and proportion) rather than in terms of practical
desirability (as an object to be consumed).
(Read further pp. 125-127 for Reading Visual for more details)
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3.5. Aesthetic Pleasure
 Aestheticists wrote expressly about the sensate elements of aesthetic

pleasure, the sphere of ‘sensation’ that was amenable to aesthetics
was somehow above and beyond actual sensation-it was committed
to process and reason.
 What this means in practice is that the art viewer, as a good

aesthetician, could not be personally and viscerally moved by a
beautiful object (or person): any pleasure taken must be pleasure in
the beautiful form, for instance, rather than an actual body-
something that leaves the pleasure of erotic imagery rather
ungrounded.
(For further details, see pp. 127-128 of Reading Visual PDF)
Self-Help: You can also refer to the sources below to help you further understand the
1. Baesa, S. (2015) The Aesthetic experience: An Introduction to Humanities. Metro

Manila: Grandbooks Publishing
2. Cooper, C.(n.d)Movie/film review lesson plan. Date retrieve, April 7, 2020 from
https://dinus.ac.id/repository/docs/ajar/film+review+lesson+plan.pdf.
3. Jacob, S. (n.d) Framing pictures: film and the visual arts.
https://search.proquest.com/docview/2130930522/30522/307F71C614DDOPQ/7?acc
ountid=31259&gototoc-true
4. Schirato, T. & Webb, J. (2004) Reading the visual. Date retrieved, May 2, 2020 from
https://www.monoskop.org/images/1/15/Schirato_Tony_Webb_Jen_reading_the_Vis
ual.pdf
5. Valli, M. (2013) Walk the Line: The Art of Drawing. London : Lawrence King
6. _____.(n.d) Edward Munch Painting, Biography, and Quotes. Date retrieved April 5,
2020 from https://www.edvardmunch.org/link.jsp.
7. http://www.visual-arts-cork.com/definition/visual-art.htm
8. PROQUEST BOOKS
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Let’s Check
Activity 1. Now that you have a better knowledge on the visual narratives and visual culture,
let us try to check how well you understand the topic. Identify the answer to the following
questions.
1. Who said that ‘the ability to judge works of art is dependent upon the clarity of
thought and knowledge, and not on the emotions”?____________________________.
2. Who painted the work Madonna and Child with Infant John the Baptiste?
_______________________.
3. Is something peculiar to human culture or produced by human beings, is called?

________________.
4. Is the actual sequence or events in a text, is known as? _____________
5. In the most simplest sense, are stories that take place in time, although it is difficult to
think of a story that does not take place in time, is known as?__________________.
6. The most important design tools as stated by the theorists of narrative, is?
______________
7. The point of view from which it is told, is? _____________
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8. Is usually a shorthand way of saying that some representation is true to life, is

commonly known as? _______________
9. He defined human voice as ‘significant sound’ or sounds that make meaning,

__________________
10. Considered to be the ‘windows to the soul.’______________
Let’s Analyze
Activity 1. To further understand visual narratives and visual art and culture, explain the
following phrases.
1. Eyes are windows to the soul.
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2. Pen is Mightier than Swords
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In a Nutshell
Activity 1. Based from the definition of the most essential terms and concepts of visual
narratives, art and culture, and the learning exercises that you have done, please feel free
to write your arguments or lessons learned below.
1.
2.
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Q&A List
Do you have any question for clarification?
Questions/Issues Answers
1.
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2.
3.
4.
5.
Keywords Index
Visual Narratives Art Reality

Field Aesthetics Seeing
Visual Art Visual Culture Aristotle
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Prepared by:
RUBEN FAJARDO, Ph.D ANTONIO PIO

Faculty, Languages Discipline Faculty, Language Discipline
Reviewed by:
EDWIN L. NEBRIA, Ed.D.

Chair, Languages Discipline
Approved by:
KHRISTINE MARIE D. CONCEPCION, Ph.D.

Dean, College of Arts and Sciences Education
56

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College of Arts and Sciences Education

Matina Campus, Davao City

Physically Distanced but Academically Engaged

Self-Instructional Manual (SIM) for Self-Directed Learning (SDL)

Course/Subject: GE 20: Reading Visual Arts

Name of Teacher: Prof. Jennifer Payot

THIS SIM/SDL MANUAL IS A DRAFT VERSION ONLY. THIS IS NOT FOR

Matina Campus, Davao City

Course Outline Policy

3. Visual Art, Visual Culture 46

Matina Campus, Davao City

3.2.. Reading Artworks 47

Matina Campus, Davao City

Course Outline: GE 20 – Reading Visual Arts

Course Coordinator: Payot, Jennifer

Course Outline Policy

Areas of Concern Details

Matina Campus, Davao City

If the assessment task is done in real-time through the

Turnitin Submission To ensure honesty and authenticity, all assessment

Please note that academic dishonesty such as cheating

However, if the late submission of the assessment

Matina Campus, Davao City

For group assessment tasks, the course coordinator

Assignment Resubmission You should request in writing to the course coordinator

If disapproved by the course coordinator, you can

Grading System All culled from BlackBoard sessions and traditional

Matina Campus, Davao City

Course discussions/exercises – 30%

All culled from on-campus/onsite sessions (TBA):

Final exam – 40%

Submission of the final grades shall follow the usual

Student Communication You are required to create a umindanao email

Contact Details of the Dean DR. KHRISTINE MARIE D. CONCEPCION

Matina Campus, Davao City

Contact Details of the Program DR.EDWIN L. NEBRIA

Instructional Help Desk Contact DR. KHRISTINE MARIE D. CONCEPCION – Dean

Library Contact Details Brigida E. Bacani

Well-being Welfare Support Held Carizza Mari C. Tinanac

Course Information: see/download course syllabus in the Blackboard LMS

Matina Campus, Davao City

Matina Campus, Davao City

1. Seeing. Is on the one hand an automatic, physiological function we perform

3. Postmodernism. A set of theories and practices which describe the contemporary

Matina Campus, Davao City

1. Communication and the Visual

1.1 Seeing and Sense.

 According to Mirzoeff, “human experience is now more visual and

(See pp. 60-61, Reading Visual PDF for more details)

1.2 Images and Sign

 We are no longer as visually complex people in earlier periods not

 “Linguistic turn”- a move within the Humanities to focus almost

 All social practices, in other words, were understood as meaning-making

Matina Campus, Davao City

 Under this analytical principle, visual texts are considered to

 Semiotics is certainly an effective tool for analysis because it deals with

1.3 Images and Meaning

 Semiotic principle of analyzing signs is attractive because it makes good

 Though it is usually associated with French linguist Ferdinand de Saussure

(See pp. 64-66 of Reading Visual for further details)

1.4 Reading the Real

 Science tends to understand that is real as that which can be observed,

Matina Campus, Davao City