GE 20 Visual Arts SIM SDL Complete

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. JONATHAN L.

CABRADILLA LPT, Ph.D.
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: JONATHAN LIMPIADO CABRADILLA

Email: jhun_cabradilla@yahoo.com/jcabradilla@umindanao.edu.ph
Student Consultation: Done by online (LMS) or thru text, emails or calls
Mobile: 09257451216
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 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.
Assessment Task Submission of 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.
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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
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 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:
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
on the tacitand understand itspeople
understandings meaning.
have of the visual domain,
cultivate
This willtheir imagination,
enable make sense
you to exemplify of the importance
imaginative of visuality,
ability which explore
are essential in the effect
the idea of aesthetics
communication has visual
and the on reading of visual
and the visual narratives.
texts, 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 to demonstrate ULO-a will be operationally defined to establish a common
frame of reference as to how the text work. 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, our tastes,
and habits, and our 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 that has close links with humanities
and social sciences-philosophy, sociology and literary studies in particular.
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 as 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 which are 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 exclusively refer to these resources. Thus, you are expected to utilize other books,
research articles and other resources that are available 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 on 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 that
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.
• While the process of making and negotiating the visual (whether driving a
car or taking a photograph) is always informed by the notions of
attentiveness, selection and omission, and context, there are other issues
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which we need to consider, such as when we do focus on, attend to and

see something, and why do 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: 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,
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passion, or greed. But he has a secret: he owns a ring that can cast an evil spell on him (binary
of things).
• Habitus- can be understood as a set of values and dispositions gained from our cultural
history that stay with us across contexts (they are durable and transposable). These
values and dispositions allow us to respond to cultural rules and contexts in a variety
of 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 that is appropriate to the imperatives of
the moment.
• Our situation in that what we see is inextricably linked to and is a 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, and we have 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 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 are attending closely or
carefully to an event, person, thing, or scene, we will create a text that is made up of
what we call contiguous elements.
(Read further the PDF Reading Visual about Techniques of Seeing as Reading for
further details)
1.4. Seeing in Time and Motion
• A number of 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
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Analyze the picture of Zeus using the following elements.
(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 provides an example of the
relational character of signs and texts)
1.6. Text and Genres
Genres- text-types which 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 terms of its content, narratives,
characterization, discourses, values, and worldviews.
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• Genres then, like intertext, 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. And the way in which socio-cultural fields and institutions
categorize people, places, events, and texts in terms of certain genres
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.
(Read further the PDF Reading Visual regarding Text and Genres)
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2. Visual Technologies
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 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, we
learn the look of words, we learn grammar and syntax- and with these
literacies (and discipline-specific training), we can write or read anything from
abstract philosophy to shopping list.
(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 the field of photography

because photographs perfectly freeze time and motion in a way 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 understand it as a
sort of knowledge-know-how and skill.
• Technology can also be understood as an organizing principle and a process-

the way in which a society constitutes itself and its formations, and then brings
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.
• What we can take from this is 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 try to 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 draw
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 which are organized in a particular way to devoid
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 are attending closely or carefully to an event, person, thing, or scene,

we create a text that is made up of what we call continuum elements.
10. Genres are text-types which 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 visual, 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 succinctly.
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
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ULO-b. Exemplify imaginative ability which is essential in communication and the visual
and the visual narratives.
Metalanguage
Week 4-5: Unit Learning Outcomes (ULO-B):
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. It 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.
1. Communication and the Visual
1.1 Seeing and Sense.
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How may the 5 senses play a vital role in communication and visualizing reality?
• 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
What are the realizations you see in the pictures?
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• 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.
• 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
See the emoji picture and its meaning.
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• The 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 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
What is this picture all about?
What is the role of this in our world?
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• Science tends to understand that is real as that which can be observed,

demonstrated, and proven. At the same time, the media use terms like
“reality” is a rather nebulous manner, equating reality with what is
happening in the “real world” with what “everyone thinks” or with the
“voice of the people.”
• 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 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.”
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1.5 The Reality Function
How would you deal with the reality of life?
• So truth-to-reality, transparent communication, tradition, or utility are not

the only ways to understand visual representation.
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• We cannot rely on the evidence or the authority of our eyes to tell us the
truth of what we are seeing, and 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
What is this picture all about?
• “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.
• 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.
37
• This chapter explores what constitutes a narrative, what its various elements are,
and how these elements work together.
2.1 What is Narrative
• The 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 the
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.
38
2.2 Plot and Narrative
Watch a movie or read a novel or short story and write the basic elements of the story.
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
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
What is the role of time in the visual reality?
39
• Time- the most important design tool, according to the theorists of a

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
How important is the content of a story to you?
40
• Time is not the only issue in visual stories.
• A narrative can also be implied or identified in a visual text by a device 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
• 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.
41
• 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
Live life to the fullest means?
• Every text belongs within a genre-there cannot be a text without genre.

42
• 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.
• The narrative is there not because it is inherent in life, but because it

envelops us and structures our practice or our experience of practice.
• ‘good writing’ is mimetic (it shows’) and not diegetic (that is, it doesn’t
tell)
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.

43
3. Visual Art, Visual Culture
What comes into your mind upon seeing these pictures?
• 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
What does art mean to you?
44
• 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 smithing, and what we now call ‘artists’ were then just
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.
45
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.
Examine this picture using the appropriate literacies to read the artwork.
(Read pp. 108-110 of Reading Visual PDF for details)
3.3. The Field of Artistic Production
What does this picture entail to you?
46
• Bourdieu states that art can be understood as comprising a cultural

field, which he calls the ‘field of cultural production.’
• 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
Image of Immanuel Kant
• Immanuel Kant, who is closely identified with the discipline of

aesthetics, associated sound understanding with judgment (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 judgment of taste is independent of all interest.
47
• 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).
Would you judge a piece of art base on your heart or mind?
(Read further pp. 125-127 for Reading Visual for more details)
3.5. Aesthetic Pleasure
What would you use, heart or brain when judging beauty?
48
• 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)
49
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
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
Let’s Check
Activity 1. Now that you have a better knowledge of 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? .
50
4. Is the actual sequence or events in a text, is known as?

5. In the 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?
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.
51
2. The Pen is Mightier than Swords
52
In a Nutshell
Activity 1. Based on the definition of the 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.
53
2.
54
Q&A List
1.
2.
3.
4.
5.
Keywords Index
Visual Narratives Art Reality
Field Aesthetics Seeing
Visual Art Visual Culture Aristotle
55
Let’s us begin!
Week 7-9 : Unit Learning Outcomes (ULO-c)

ULO-c. Demonstrate deep knowledge on normalizing vision and selling the visual art.
Week 6-7: Unit Learning Outcomes (ULO-c)
A. Demonstrate in-depth knowledge of normalizing vision.
B. Enable to show mastery of the technique on selling the visual arts.
Metalanguage
For you to exemplify ULO-c, 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. Visual regime refers to the process whereby a particular field or group of fields (say,
the sciences) manages to export its ways of seeing to most, or all other fields, which
in turn leads to a universalizing of the authority of different forms, genres, mediums
and practices of the visual to provide access to what we could call ‘visual reality.’
2. Normalization is associated with the fields of science, bureaucracy, and government.
3. Capitalism is part of the economic field.
4. Biopower refers to the form of knowledge, techniques, mechanisms, and operations

that were developed for analyzing, defining, controlling, and regulating behavior.
56
Essential Knowledge
To accomplish the aforementioned Big Picture Unit Learning Outcome (ULO-c) for
weeks 7-9, you are required to fully deduce the following vital knowledge that will be laid
down in the succeeding pages.
1. Normalizing Vision:
Introduction: Read the Synopsis of Marx Brothers’ film Night at the Opera
• What is this film all about?
1.1. Modernity as a Way of Seeing
What are your views on modern world?
57
• Jonathan Crary argues that the advent and development of the set of discourses,
ideas, perspectives and practices that we term normalization as potential resources.
• Institutions, bureaucratic apparatuses, and their functionaries in fields such as

education, health and military looked at people not as individuals, but predominantly
in terms of how they might contribute to the well-being of the state.
• Being disciplined did not simply mean being punished-rather; it referred to a process
whereby people’s bodies would be disposed to behave in a manner consistent with
what the state and its various institutions considered to be normal, healthy, and
productive.
• Foucault identifies two major processes of disciplinarity and normalization:

a. Panopticon- a tower placed in a central position within the prison.
b. Self-surveillance-subject would be disposed to make themselves the
objects of their gaze, constantly monitoring and evaluating their bodies,
actions, and feelings.
58
Liposculpture:
• What can you tell about this picture?
• Machine for recording the pace of work in factories, stadiums, and barracks meant
that knowledge, in the form of exact and specific measurements of normality, was
now disseminated for the population to use against itself.
1.2. Subjective Vision and the Scientific Gaze
• Vermeer’s “The Music Lesson”
59
• What is this picture all about?
• Don Quixote
• What is Miguel Lopez de Cervantes’ novel all about?

• Science will only see through and believe in analysis, evidence, and trained
perception.
60
1.3. Knowledge, Technology and the Trained Eye
• This new (scientific) knowledge, Foucault suggests, supposedly allowed people to see
‘truly’- or at least, it claimed to be able to train and discipline the eyes to distinguish
truth from illusion.
• Holmes and Watsons
• How could you differentiate the knowledge of these two personalities?
• The eyes could then provide a true picture of the world, but only if modern
knowledge and techniques directed and looked through those eyes.
• Compare and contrast both pictures.
• Figure A captures a considerable amount of detail that can be used to describe and
categorize the snail. It is limited precisely in that it isolates and, in a sense,
61
decontextualizes that information (in that it removes, for instance, the contexts and
relationships pf movement).
• Figure B, the idea, and the process are more detailed.
2. Selling the Visual
Introduction:
• What does this picture portray?
• Foucault reiterated that the ‘attitude’ of liberalism that ‘the free enterprise of
individuals’ was the best principle for producing greater wealth and prosperity.
2.1. Capitalism and Culture
• What does this picture say?
• What does this mean to you?
62
• Values and hierarchies are influential
• What makes this scene influential?
• The sense of values determines how things are viewed like in the market have been
dismantled.
• The notion of art provides an insight into, and a critique of, culture and society are
irrelevant, since the link between what the work is and where it came from now
effectively severed.
63
2.2. Commoditizing the World
• What makes these pictures touching?
• Commoditization refers to the situation where a thing or person is viewed predominantly

in terms of its or its exchange value.
64
2.3. Every Day as Commodity
• What do these pictures project?
• In human sight, binocular vision is seamlessly transformed into what seems like
monoculars.
65
Self-Help: You can also refer to the sources below to help you further understand
the lesson:
• Baesa, S. (2015) The Aesthetic experience: An Introduction to Humanities.

Metro Manila: Grandbooks Publishing
• Cooper, C.(n.d)Movie/film review lesson plan. Date retrieve, April 7, 2020, from
• Jacob, S. (n.d) Framing pictures: film and the visual arts.
https://search.proquest.com/docview/2130930522/30522/307F71C614DDOPQ/
7?accountid
=31259&gototoc-true
• 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_t
he_Visual.pd f
• Valli, M. (2013) Walk the Line: The Art of Drawing. London: Lawrence King
• .(n.d) Edward Munch Painting, Biography, and Quotes. Date retrieved April
5, 2020, from https://www.edvardmunch.org/link.jsp.
• http://www.visual-arts-cork.com/definition/visual-art.htm
• PROQUEST BOOKS
Let’s Check
Activity 1. Now that you have a better knowledge of the normalizing vision and selling visual
let us try to check how well you understand the topic. Define the following terms.
1. Capitalism
2. Commodity
3. Normalization
4. Liberalism
5. Biopower
66
LET’S ANALYZE
Activity 2. As you understood the topics of Normalizing vision and Selling the vision, explain
the following pictures vividly.
1.
2.
3.
67
IN A NUTSHELL
Activity 3. As you understood the lesson of selling the visual you are expected
to.
1. Create your own brochure of promoting the tourist attractions of your
place.
Let’s us begin!
WeekULO-d.
7-9 : Demonstrate
Unit Learning
a deepOutcomes
knowledge(ULO
on -c)
the media as spectacle.
Weeks 8-9: Unit Learning Outcomes (ULO-d)
A. Demonstrate an in-depth knowledge of the media as a spectacle
B. Design a TV interview and present it in front of the class using the PWA approach.
Metalanguage
In this section, the most important terms mean in this course, specifically in this unit, will
be operationally defined to demonstrate a common frame of reference as to how the text
works. Please refer to these definitions in case you will encounter difficulty in understanding
some ideas.
68
Terms and operational meaning of Media as Spectacular
1. Contemporary Art, it means “the art of today,”
2. Imagine Community meaning is a group of people who, even if they have never met,
belong to a community with similar interests.
3. Interpellation means to use in almost every aspect of our society, especially in the
marketing of merchandise.
4. Media refers to the communication channels through which we disseminate news,

music, movies, education, promotional messages, and other data.
5. Society is a group of people with common territory, interaction, and culture.
6. The spectacle is something exhibited to view an unusual, notable, or entertaining
Essential Knowledge
To accomplish the aforementioned Big Picture Unit Learning Outcome (ULO) for Weeks
8-9, you are required to fully deduce the following vital knowledge that will be laid down in
the succeeding pages.
4.0. Media as Spectacle
In this unit, we consider how contemporary visual practices are influenced by a field
whose primary function is arguable to provide in Claude Lefort’s words, “the constant staging
of public discussions as spectacle. Include all aspects of economic, political, and cultural life”.
4.1. Society of the Spectacle
69
• Look at the pictures above.
70
What do you see?

What can you say about it?
What comes in your mind now?
* People normally believe in the spectacle as extravagant, over-the-top, and larger-than-life

performances. Nevertheless, it is quite different according to an expert in the arts. The
spectacle is not primarily concerned with a looking at images but rather with the
construction of conditions that individuate, immobilize, and separate subjects (Crary, 1999:
74-75).
Jonathan Crary is an art critic and essayist and is Meyer Schapiro

Professor of Modern Art and Theory at Columbia University in New
York. His first notable works were Techniques of the Observer: On
Vision and Modernity in the 19th Century (1990), and Suspensions
of Perception: Attention, Spectacle and Modern Culture (2000). He
has published critical essays for over 30 Exhibition catalogs, mostly
on contemporary art. His style is often classified as observational
mixed with scientific, and a dominant theme in his work is the role
of the human eye.
* Contemporary Art is the art of today produced in the second half of the 20th century or 21st
century. Contemporary artists work globally influenced culturally diverse and
technologically advancing world. Their art is a dynamic combination of materials, methods,
concepts, and subjects.
71
The Society of the Spectacle
The self-proclaimed leader of the Situationist International,

Guy Debord, was undoubtedly responsible for the longevity
and high profile of Situationist ideas. However, the equation of
the SI with Guy Debord would be misleading. Brilliant but
autocratic, Debord helped both unify situationist praxis and
destroy its expansion into areas not explicitly in line with his
ideas. His text The Society of the Spectacle remains today one
of the great theoretical works on modern-day capital, cultural
imperialism, and the role of mediation in social relationships.
* Debord defines the spectacle as the “autocratic reign of the market economy.” Though the
term “mass media” is often used to describe the spectacle’s form, he derides its neutrality.
People, instead of talking about the spectacle they often prefer to use the term media. So,
Debord portrays the spectacle as capitalism’s instrument for distracting and pacifying the
masses. The spectacles take on many more forms today than it did during Debord’s lifetime.
* SPECTACLE can be found on every screen that you look at. It is the advertisements plastered
on the road and the pop-up ads that appear in your browser (Refer to Reading Visual PDF,
pp. 169-170).
4.2 The Media and Imagined Communities
72
* This picture is a young Negro in a French uniform is saluting, with his eyes uplifted, probably
fixed on a fold of the tricolor.
* What can you infer about the image?
* Media - a channel or system of communication, information, or entertainment

- a mode of artistic expression or communication
(Merriam Webster Dictionary)
• The term media, which is the plural of medium, refers to the communication channels
through which we disseminate news, music, movies, education, promotional messages,
and other data. It includes physical and online newspapers and magazines, television,
radio, billboards, telephone, the internet, fax, and billboards.
• It describes the various ways through which we communicate in society. Because it refers
to all means of communication, everything ranging from a telephone call to the evening
news on television can be called media.
• When talking about reaching a vast number of people, we say mass media. Local media
refers to, for example, your local newspaper, or local/regional TV/radio channels.
• Imagined Community, Anderson interpellated that this procedure was often essential to
the creation of the nation-state, where various groups of people frequently culturally,
ethnically, and geographically disparate.
• The imagined community is sovereign because its legitimacy is not derived from divinity as
kingship is—the nation is its authority, it is founded in its name, and it invents its people
which it deems citizens
Benedict Anderson is one of the most important theorists of modern

nationalism. Nationalism, argues Anderson, is a story of national
origins that creates imagined community amongst the citizens of the
modern state. Here, he explains the sense in which the nation is an
‘imagined community. ’
73
• The most famous samples of what we can call the visual interpellation of the individual as
a member of a nation-state are the Roland Barthes’ analysis, in Mythologies, of a
photograph from the French magazines Paris-Match. (Refer to the picture above and
Reading Visual PDF pp. 170-172)
4.3 The Imperative to Communicate
(A)
74
How do the images communicate to you?

Do these pictures give you something to ponder? Why or why not?
Do these pictures arouse your emotion? Why or why not? If yes, how?
• Lefort’s point is not that the mass media simply take on the task of circulating and
reinforcing these capitalized ideas.
The New Communication Imperative

(B)
Communication is not an opportunity; it’s a necessity.

-Andrew Sher
75
• The go-to tools of communication for most of the 20th century were landline telephones.
But now in the 21st century or the contemporary period cellular phones, radio, TV,
newspaper, and magazines. The internet changed all that. It atomized the information
ecosystem and shook up the economy, politics, and culture.
• Communication in today’s generation is not just an opportunity; it’s a necessity (Sherry,

2015). It is the most powerful communication that means creating narratives that help the
media and the society to make sense.
• This exhibit of communication and representative is always loaded or deviated in terms of

who speaks, who is chosen to represent different points of view, the kind of questions that
are interrogated, or background information or commentary that is supplied or withheld
(Refer to Reading Visual PDF pp. 178).
Self-Help: You can also refer to the sources below to help you further understand
the lesson.
• https://www.merriam-webster.com/dictionary/spectacle
• Kellner, D. (2004). Media culture and the triumph of the spectacle. Retrieved May 11,
2020 from www.razonypalabra.org.mx
• Schirato, T. & Webb, J. (2004). reading the visual. Retrieved April 15, 2020, from
https://monoskop.org/images/1/15/SchiratoTony
• Koh, A.(2016). American Association of University Professors. Imagine a community,
social media, and the faculty. Retrieved May 11, 2020
https://www.aaup.org/article/imagined-communities-social-media-and
faculty#.XstY22gzbIU
76
Let’s Check
Activity A: Vocabulary Enrichment. Arrange the following jumbled letters to form a workable
word. You are guided by definition.
1. CEITYSO - a group of people with common territory, interaction, and culture.
2. RATRARYPOMETCON - it means “the art of today,”
3. CEPSELCTA - is something exhibited to view an unusual, notable, or entertaining
4. PELINTERNOITAL - is a means to use in almost every aspect of our society, especially in

the
marketing of merchandise
Activity B: Answer the questions with justifications. (20 pts)
1. Can social media cause revolutions? Explain.
77
Answer:
2. How can media attract the attention of the public?
Answer:
Let’s Analyze
78
Activity A. From the most recognizable national icons, give the meaning or the message
that you read from them. Your answer should be in paragraph form and observe proper
writing mechanics.
1.
USA’s Statue of Liberty
Answer:
2.
Singapore Merlion Statue
Answer:
79
3.
Philippine Carabao
Answer:
4.
Australia Kangaroo
Answer:
80
Activity B: Scrutinize the two pictures properly. How do they express society's spectacle and
architectural design?
1.
Answer:
81
2.
Answer:
82
In a Nutshell
Activity A. Based on the topics presented in the Metalanguage and Essential Knowledge
sections, write the things you have learned.
1.
2.
3.
Q & A List
83
Keywords Index
Contemporary Art Interpellation Society
Imagine Community Media Spectacle
Online Code of Conduct
(1) All teachers/course facilitators and students are expected to abide by an honor code of
conduct, and thus everyone and all is exhorted to exercise self-management and self-
regulation.
(2) All students are guided by professional conduct as learners in attending OBD or DED
courses. Any breach and violation shall be dealt with properly under existing
guidelines, specifically in Section 7 (Student Discipline) in the Student Handbook.
(3) Professional conduct refers to the embodiment and exercise of the University’s Core
Values, specifically in the adherence to intellectual honesty and integrity; academic
excellence by giving due diligence in virtual class participation in all lectures and
activities, as well as fidelity in doing and submitting performance tasks and
assignments; personal discipline in complying with all deadlines; and observance of
data privacy.
(4) Plagiarism is a serious intellectual crime and shall be dealt with accordingly. The
University shall institute monitoring mechanisms online to detect and penalize
plagiarism.
(5) Students shall independently and honestly take examinations and do assignments,
unless collaboration is clearly required or permitted. Students shall not resort to
dishonesty to improve the result of their assessments (e.g. examinations, assignments).
84
(6) Students shall not allow anyone else to access their personal LMS account. Students
shall not post or share their answers, assignment, or examinations to others to further
academic fraudulence online.
(7) By enrolling in OBD or DED courses, students agree and abide by all the provisions of
the Online Code of Conduct, as well as all the requirements and protocols in handling
online courses.
Course prepared by:
RUBEN C. FAJARDO, Ph.D LUCIA M. SUNGA, Ed.D

Faculty, Language 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
85

GE 20 Visual Arts SIM SDL Complete

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GE 20 Visual Arts SIM SDL Complete

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College of Arts and Sciences Education

2nd Floor, DPT Building

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. JONATHAN L.

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

Matina Campus, Davao City

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

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

Unit Learning Outcomes (ULO-d) 68

1.1 Society of the Spectacle 69

Online Code of Conduct 84

Matina Campus, Davao City

Course Outline: GE 20 – Reading Visual Arts

Course Coordinator: JONATHAN LIMPIADO CABRADILLA

Mode of Delivery: Blended (On-Line with face to face or virtual sessions)

Course Outline Policy

Areas of Concern Details

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

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 paper

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

Course discussions/exercises – 30%

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

Final exam – 40%

Matina Campus, Davao City

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

Phone: (082)300-5456/305-0647 Local 134

Contact Details of the Program DR. EDWIN L. NEBRIA

Matina Campus, Davao City

Instructional Help Desk Contact DR. KHRISTINE MARIE D. CONCEPCION

Phone: (082)300-5456/305-0647 Local 134

Library Contact Details BRIGIDA E. BACANI

Well-being Welfare Support Held ZERDSZEN P. RANISES

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

Matina Campus, Davao City