Week 1-3 Unit Learning Outcomes (ULO-A)

College of Arts and Sciences Education
2nd Floor, DPT Building
Matina Campus, Davao City
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Phone No.: (082)300-5456/305-0647 Local 118
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. Ruben Fajardo
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 5
Course Outline Policy 5
Course Information 9
Unit Learning Outcomes (ULO-a) 10
Metalanguage 11
Essential Knowledge 12
1. Reading the Visual 12
1.1. Seeing as Reading 13

1.2. Seeing in Context 14
1.3. Techniques of Seeing as Reading 15
1.4. Seeing in Time and Motion 16
1.5. Text and Intertext 17
1.6. Text and Genres 18
2. Visual Technologies 20
2.1. Tacit Seeing 20

2.2. Seeing as Literacy 20
2.3. Arresting Reality 21
2.4. New Technologies of Seeing 22
ULO-a Activities 24
Unit Learning Outcomes (ULO-b) 31
Metalanguage 31
1. Communication and the Visual 31
1.1.Seeing and Sense 31

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1.2. Images and Sign 32

1.3. Images and Meaning 32
1.4. Reading the Real 34
1.5. The Reality Function 36
2. Visual Narratives 31
2.1. What is Narrative 32

2.2. Plot and Narrative 32
2.3. Time and Narrative 32
2.4. Content and Narrative 33
2.5. Everyday Life as Narrative 34
2.6. Image into Text 34
3. Visual Art, Visual Culture 44
3.1.The Identity of Art 44

3.2. Reading Artworks 45
3.3. The Fields of Artistic Production 46
3.4. Aesthetic Judgment 47
3.5. Aesthetic Pleasure 48
ULO-b Activities 50
Unit Learning Outcome (ULO-c) 56
Metalanguage 56
1. Normalizing Vision 57
1.1 Modernity as a Way of Seeing 57

1.2 Subjective Vision and the Scientific Gaze 59
1.3 Knowledge, Technology and the Trained Eye 61
2. Selling the Visual 62
2.1 Capitalism and Culture 62

2.2 Commoditizing the World 64
2.3 Everyday as Commodity 65
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ULO-c Activities 66
Unit Learning Outcomes (ULO-d) 68
Metalanguage 68
1. Media as Spectacle 69
1.1 Society of the Spectacle 69

1.2 The Media and Imagined Communities 72
1.3 The Imperative to Communicate 74
ULO-d Activities 76
Online Code of Conduct 84
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Course Outline: GE 20 – Reading Visual Arts
Course Coordinator: Fajardo, Ruben

Email: rfajardo@umindanao.edu.ph
Student Consultation: Done by online (LMS) or thru text, emails, or calls
Mobile: 09778257685
Effectivity Date: May 2020
Mode of Delivery: Blended (On-Line with face to face or virtual sessions)
Time Frame: 54 hours
Student Workload: Self-Directed Expected 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 a blended learning mode of instructional delivery
with scheduled face-to-face or virtual sessions. The
expected number of hours will be 54, including face-to-
face or virtual sessions. The face-to-face sessions shall
include the summative assessment tasks (exams) if
warranted.
Assessment Task Submission of assessment tasks shall be on the 3rd,

5th, 7th, and 9th weeks of the term. It is also
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expected that you already paid your tuition and other

fees before submitting the assessment task.
If the assessment task is done in real-time through the
Blackboard Learning Management System's features,
the course coordinator shall arrange the schedule ahead
of time.
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 assessment paper's late submission 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
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.
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For group assessment tasks, the course coordinator

will require some or a few students for online or virtual
sessions to ask clarificatory questions to validate the
originality of the assessment task submitted and 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 In writing, you should request 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:
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%
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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
Contact Details of the Program DR. EDWIN L. NEBRIA

Head
Email: edwin_nebria@umindanao.edu.ph
Phone: (082)300-5456/305-0647 Local 134
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.
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Instructional Help Desk Contact DR. KHRISTINE MARIE D. CONCEPCION

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

LIC-Head
Email: library@umindanao.edu.ph
Phone: 0951 376 6681
Well-being Welfare Support Held ZERDSZEN P. RANISES

Desk Contact Details
CASE Guidance Facilitator
Email: gstcmain@umindanao.edu.ph
Phone: 09504665431
Course Information: see/download course syllabus in the Blackboard LMS
CC’s Voice: Welcome to this course GE 20: Reading Visual Arts. 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.
This course helps you to identify the basic elements and principles of reading
visual Knowledge
art, visual technologies andunderstandings
on the tacit understand its people
meaning.
have of the visual domain,
cultivate theirenable
This will imagination,
you tomake sense ofimaginative
exemplify the importance of visuality,
ability which explore the effect
are essential in
the idea of aesthetics has on reading of visual texts,
communication and the visual and the visual narratives.analyze the economic effects of a
globalized market, and illustrate explanations and arguments with images and
It also
anecdotes helps
that are you apply
highly analytical and critical skills in describing both Visual Arts
eclectic.
and communication literacy.
This will produce innovative and highly eclectic presentations using the modern
technologies and different facilities of arts.
Let us begin!
Big Picture
Week 1-3: Unit Learning Outcomes (ULO-a):
At the end of the unit, you are expected to:
a. Demonstrate in-depth knowledge on the definition, importance, and elements of

reading visual art; and
b. Develop a comprehensive understanding of reading the image and the way of
representing the subject.
Big Picture in Focus:

ULO-a. Demonstrate deep knowledge on the definition, elements, and importance of
reading visual art.
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Metalanguage
In this section, the essential terms relevant to the study of GE 20 (Reading Visual
Art) and demonstrating ULO-a will be operationally defined to establish a common frame
of reference as to how the text works. You will encounter these terms as we go through the
study. Please refer to these definitions in case you will encounter difficulty in understanding
some concepts.
Terms and operational meaning of Reading Visual Art
1. Reading. A particular form of visual practice; is both an active and a creative

process;
2. Reading the visual. We draw on our general and specific knowledge, tastes,
habits, and personal context.
3. Visual Culture. The study of genealogy and practice of visualization of modern
culture. Its concentration is on the interface between images and viewers
rather than on artists and works. It is concerned with visual events in which
information, meaning, or pleasure is sought by the consumer in an interface
with visual technology.
4. Visual studies. It is an interdisciplinary field with close links with humanities and
social sciences-philosophy, sociology, and literary studies.
5. Capital-A Art. It is one discipline that provides many useful techniques for
anyone studying visual culture and is one of the important fields of social
understanding, history, and culture.
6. Spectatorship – is the production of social media, especially digital media.
7. Visual matter. It is considered beautiful or appealing.
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8. Semiotics. It is an analytical approach and a research methodology that

examines the use of what we are called signs in society.
9. Sign. It is a basic unit of communication; it is just something that has some

meaning for someone; means something, and not one thing.
10. Text. The name of a group of signs- a collection of signs organized in a particular
way to make meaning.
11. Context. This means the environment in which a text occurs and
communication takes place.
Essential Knowledge
To perform the aforesaid big picture (unit learning outcomes) for the first three
(3) weeks of the course, you need to fully understand the following essential knowledge
that will be laid down in the succeeding pages. Please note that you are not limited to
refer to these resources exclusively. Thus, you are expected to utilize other books,
research articles, and other available resources in the university’s library e.g. ebrary,
search.proquest.com etc.
1. Reading the Visual
The Activity of Seeing

What are the differences between these two activities?
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1.1 Seeing as Reading.

What can you describe in this illustration?
3 Main Points in Seeing as Reading

1. We see things we are actively engaging with our environment rather than
merely reproducing everything within our line of sight.
2. Every act of looking and seeing is also an act of not seeing-some things
must remain invisible if we are to pay attention to other things in view.
3. The extent to which we see, focus on, and pay attention to the world
around us. (Three actions are inextricably linked, depends upon the specific
context in which we find ourselves).
Context- means the environment in which a text occurs and communication takes place.
Contexts are extraordinarily dynamic and variable because they incorporate
everything involved in that environment: the people, their history, current events,
similar texts with which they are comparing this one, and so on.
• The process of making and negotiating the visual (whether driving a car or
taking a photograph), always informed by the notions of attentiveness,
selection and omission, and context. We need to consider other issues,
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such as when we focus on, attend to, and see something, and why we see
things differently over time, or from other people?
• We can carry this insight further by suggesting that when we see, we are,
in effect, engaged in the act of reading (the visual). When we read a book,
we try to follow, consider and understand the material at hand (the words,
the sentences, the story), and we end up making both meanings and
connections between different meanings.
(Please refer to the PDF Reading the Visual pp. 14-32 in the Blackboard
Open LMS for further details)
1.2. Seeing in Context
Activity: Film Viewing

Students will watch the movie “The Hobbit- The Fellowship of the Ring.”
Simple Recall: In the film “The Fellowship of the Ring, the hobbit Bilbo Baggins is represented
as an inoffensive, generous, and altogether nice type who seems untouched by desire,
passion, or greed. But he has a secret: he owns a ring that can cast an evil spell on him (binary
of things).
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• Habitus- can be understood as a set of values and dispositions gained from our cultural
history that stay with us across contexts (durable and transposable). These values and
dispositions allow us to respond to cultural rules and contexts in various ways (they
allow for improvisations). Still, these responses are always determined-regulated- by
where we have been in culture.
Cultural Literacy- refers to a general familiarity with, and an ability to use, the official
and unofficial rules, values, genres, knowledge, and discourses that characterize cultural
fields. In this sense, it is not just familiarity with a body of knowledge; it also presupposes an
understanding of how to think and see in a manner appropriate to the imperatives of the
moment.
• Our situation in that what we see is inextricably linked to and product of our cultural
trajectories, literacies, and context.
• We can exemplify this by returning to Verlaine’s reference to the ‘actor’s advice’ about
things needing to happen twice. What this means is that we sometimes fail to see the
significance of something until we are aware of what we could call a pattern
• To sum up, how and why people see in particular ways referred to habitus, cultural
trajectory, and cultural literacy as the most important factors in determining what we
see.
(Read further the PDF Reading Visual about Seeing in Context for further details)
1.3. Techniques of Seeing as Reading

Compare and contrast the picture of the Mona Lisa by Leonardo da Vinci:
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1. Important techniques for reading the visuals are:
• Selection and omission, framing, and the evaluation-every act of looking and
seeing is also an act of not seeing. (see figure1.3, pp. 30-reading the visual)
• Selection, omission, framing, and evaluation produce a visual text.
Text- are produced or created; this process of production is an ongoing one.
• The status of signs and texts is always relational and contingent.
2. Two important factors here are attention and focus. If we attend closely or carefully
to an event, person, thing, or scene, we will create a text of contiguous elements.
(Read further the PDF Reading Visual about Techniques of Seeing as Reading for
further details)
1.4. Seeing in Time and Motion
• Several elements contribute to or facilitate the process of suturing the world

to make a text.
a. Color
b. Shape
c. Movement
d. Texture
e. Distance
f. Light
Analyze the picture of Zeus using the following elements.

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(Read further the PDF Reading Visual about Seeing in Time and Motion for further details)
1.5. Text and Intertext
1. Sign- is anything that is treated as a meaningful part of the unit that is the text.
Intertextuality-the use of other texts to create new texts.
2. Genre-is term for text-types

• These two concepts inform or influence visual activity.
Describe each picture and the genre each picture belongs.
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(Refer to pp. 27, Reading the Visual- pictures provide an example of the
relational character of signs and texts)
1.6. Text and Genres
Genres- text-types that structure meanings in certain ways through their

association with a particular social purpose and social context.
• We normally think of genres in terms of cultural fields and mediums

such as fiction or film- for instance, detective, science fiction, or
romance novels; and action, horror, or erotic films
• Each of these genres is identifiable in its content, narratives,
characterization, discourses, values, and worldviews.
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• Like intertext, genetics do not provide us with special access to visual

reality; rather, they are frames and references that we use to
negotiate, edit, evaluate, and in a sense, read the visual as a series of
text. How socio-cultural fields and institutions categorize people,
places, events, and texts in terms of certain genres is often based on or
associated with evaluative binaries orients and disposes us to see and
read the visual world in particular ways.
Text and Genres Activity:
Can you tell what particular place each picture belongs and describe the genre each picture
belongs to?
(Read further the PDF Reading Visual regarding Text and Genres)
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2. Visual Technologies
In this lesson, we take up the mechanics of visual perception, more specifically.

This includes the apparatuses and technologies people have developed over the
centuries as aids for seeing.
2.1. Tacit Seeing

How would you describe this image?
Pierre Bourdieu writes, “the relation to the world is a relation of presence in the
world, of being in the world, in the sense of belonging to the world.”
• So we see and perceive not because we are looking at the world from the
outside, as it were, but because we are part of everything within our gaze.
• This ‘everything’ includes our habitus (our background, tastes, tendencies, and
dispositions), as well as our physical aptitude and status.
• The principle of constancy states that ‘past experiences of the viewer will
influence what is perceived.’
(Read pp. 41 for further details.)
2.2. Seeing as Literacy
What comes out into your mind upon gazing at the picture below?
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• Tacit seeing is fine if we simply want to get through the day’s responsibilities
and activities, but it is insufficient if we want or need to make sense of what
we are seeing.
• As an analogy, consider the processes of communicating in the language.
• The school system trains children to develop sophisticated literacies in the
various components of written language. We learn the shapes of letters,
remember the look of words, we know grammar and syntax- and with these
literacies (and discipline-specific training), we can write or read anything from
abstract philosophy to shopping lists.
(Refer to pp. 42-45; Reading Visual Art PDF for further reading)
2.3. Arresting reality
What makes photography very important to you?
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• Arrested image- is most often associated with photography because

photographs perfectly freeze time and motion so that no other art form
achieves.
(Refer to pp. 45-47 of Reading Visual PDF for further details)
2.4. New Technologies of Seeing
Why is technology played an important role in visualizing reality?
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• Technology is defined variously, of course. We understand it to be a range of

objects (tools and other instruments and devices), and we know it as a sort of
knowledge-know-how and skill.
• Technology can also be understood as an organizing principle and a process.

The way society constitutes itself, and its formations bring people and
machines together to produce goods and services.
• The current era is marked by an incredible range of visual technologies, using

all the senses of the term presented above. It includes older forms of films,
video, and television; the newer ones of computers, the internet, and virtual
reality; and the ‘scientific’ mechanisms of microscope, telescope, and digital
imaging.
• We can take from this that technology is not just know-how or designed
devices; it is also a verb, a principle of action.
(Refer to pp. 53-55 of the PDF Reading the Visual for further information)
Self-Help: You can also refer to the sources below to help you further understand the
lesson:
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
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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
Let’s Check
Activity 1. Now that you know the important concepts of reading the visual let us check how
well you understand the topic. Read the following sentences carefully. Write TRUE if the
statement is correct and FALSE if otherwise.
____________ 1. Reading is both an active and creative process while reading the visual
draws our general and specific knowledge, tastes, habits, and supernatural contexts.
____________ 2. Visual culture is a field of study and a set of ways of understanding these
physical and social phenomena.
____________ 3. Semiotics is an analytical approach and a research methodology that
examines the use of what we are called visuals in society.
____________ 4. Text is a collection of signs organized in a particular way, too devoid of the
meaning of visual art.
____________ 5. Habitus is a set of values and dispositions gained from the cultural history
that stay with us across contexts.
____________ 6. Cultural history and trajectories naturalize certain values and ideas, and
effectively determine worldviews.
____________ 7. Cultural literacy presupposes an understanding of how to think and see in a
manner that is inappropriate to the imperatives and context of artworks.
____________ 8. Things needing to happen twice means that we sometimes fail to see the
significance of something until we are aware of what could call a pattern.
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____________ 9. If we attend closely or carefully to an event, person, thing, or scene, we

create a text made up of continuum elements.
____________ 10. Genres are text types that structure meanings in a certain way through
their associations with a particular purpose and social context.
Let’s Analyze
Activity 1. Guided by the lessons on the introduction of reading visuals, it is best to note that
you can articulate the sub-topics in a manner of explanation. Now, it is your chance to explain
the following briefly.
1. Text and Genres
2. Text and Intertext
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3. Seeing as Reading
4. New Technologies of Seeing
5. Tacit Seeing
6. Techniques of Seeing as Reading
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7. Seeing as Literacy
8. Arresting Reality
9. Seeing in Context
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In a Nutshell
Activity 1. Base on the essential terms and operational definition of concepts in the study of
reading visuals, please feel free to write your arguments or lessons learned below.
1.
2.
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3.
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Q&A List
Do you have any questions for clarification?
Questions/Issues Answers
1.
2.
3.
4.
5.
Keywords Index
Reading Reading the Visual Text
Semiotics Sign Intertextuality
Habitus Genres Visual Culture
30

Week 1-3 Unit Learning Outcomes (ULO-A)

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College of Arts and Sciences Education

2nd Floor, DPT Building

Matina Campus, Davao City

Phone No.: (082)300-5456/305-0647 Local 118

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. Ruben Fajardo

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

Matina Campus, Davao City

Phone No.: (082)300-5456/305-0647 Local 118

Course Outline Policy 5

Unit Learning Outcomes (ULO-a) 10

1. Reading the Visual 12

1.1. Seeing as Reading 13

2.1. Tacit Seeing 20

Unit Learning Outcomes (ULO-b) 31

1. Communication and the Visual 31

1.1.Seeing and Sense 31

Matina Campus, Davao City

Phone No.: (082)300-5456/305-0647 Local 118

1.2. Images and Sign 32

2.1. What is Narrative 32

3. Visual Art, Visual Culture 44

3.1.The Identity of Art 44

Unit Learning Outcome (ULO-c) 56

1.1 Modernity as a Way of Seeing 57

2. Selling the Visual 62

2.1 Capitalism and Culture 62

Matina Campus, Davao City

Phone No.: (082)300-5456/305-0647 Local 118

Unit Learning Outcomes (ULO-d) 68

1.1 Society of the Spectacle 69

Online Code of Conduct 84

Matina Campus, Davao City

Phone No.: (082)300-5456/305-0647 Local 118

Course Outline: GE 20 – Reading Visual Arts

Course Coordinator: Fajardo, Ruben

Course Outline Policy

Areas of Concern Details

Assessment Task Submission of assessment tasks shall be on the 3rd,

Matina Campus, Davao City

Phone No.: (082)300-5456/305-0647 Local 118

expected that you already paid your tuition and other

Turnitin Submission To ensure honesty and authenticity, all assessment

Please note that academic dishonesty such as cheating

However, if the assessment paper's late submission has

Matina Campus, Davao City

Phone No.: (082)300-5456/305-0647 Local 118

For group assessment tasks, the course coordinator

Assignment Resubmission You should request in writing to the course coordinator

Re-marking of Assessment Papers In writing, you should request to the program

Grading System All culled from BlackBoard sessions and traditional

Final exam – 40%

Matina Campus, Davao City

Phone No.: (082)300-5456/305-0647 Local 118

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

Contact Details of the Program DR. EDWIN L. NEBRIA

Matina Campus, Davao City

Phone No.: (082)300-5456/305-0647 Local 118

Instructional Help Desk Contact DR. KHRISTINE MARIE D. CONCEPCION