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

College of Arts and Sciences Education
2nd
Floor, DPT Building
Matina Campus, Davao City
UNIVERSITY OF MINDANAO
Languages Discipline
Physically Distanced but Academically Engaged
Self-Instructional Manual (SIM) for Self-Directed Learning (SDL)

Course/Subject: GE 20: Reading Visual Arts
Name of Teacher: Prof. Jennifer Payot
THIS SIM/SDL MANUAL IS A DRAFT VERSION ONLY. THIS IS NOT FOR

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

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Table of Contents
Page
Course Outline
Course Outline Policy
Unit Learning Outcomes (ULO-d)
Metalanguage 9
Essential Knowledge 10
1. Media as Spectacle 10
1.1 Society of the Spectacle 10
1.2 The Media and Imagined Communities 13
1.3 The Imperative to Communicate 15
ULO-c Activities 17
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Course Outline: GE 20 – Reading Visual Arts
Course Coordinator: Prof. Jennifer Payot
Email:
Student Consultation: Done by online (LMS) or thru text, emails, or calls
Mobile:
Effectivity Date: May 2020

Mode of Delivery: Blended (On-Line with face to face or virtual sessions)
Time Frame: 54 hours
Student Workload: Expected Self-Directed Learning

Requisites: None
Credit: 3
Attendance Requirements: A minimum of 95% attendance is required at all scheduled
Virtual or face to face sessions.
Course Outline Policy
Areas of Concern Details
Contact and Non-contact Hours This 3-unit course self-instructional manual is designed
for blended learning mode of instructional delivery with
scheduled face to face or virtual sessions. The expected
number of hours will be 54, including the face to face or
virtual sessions. The face to face sessions shall include
the summative assessment tasks (exams) if warranted.
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Assessment Task Submission Submission of assessment tasks shall be on the 3rd,

5th, 7th, and 9th weeks of the term. The assessment
paper shall be attached with a cover page indicating
the title of the assessment task (if the task is a
performance), the name of the course coordinator,
date of submission, and the name of the student. The
document should be emailed to the course coordinator.
It is also expected that you already paid your tuition
and other fees before the submission of the
assessment task.
If the assessment task is done in real-time through the

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

tasks are required to be submitted through Turnitin
(if necessary)
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.
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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.
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.
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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%
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.
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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: [email protected]
Phone: (082)300-5456/305-0647 Local 134
Contact Details of the Program DR.EDWIN L. NEBRIA

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

Details
Phone: (082)300-5456/305-0647 Local 134
Library Contact Details Brigida E. Bacani

Phone: 0951 376 6681
Well-being Welfare Support Held Carizza Mari C. Tinanac

Desk Contact Details
Phone: 0977 805 8911
Course Information: see/download course syllabus in the Blackboard LMS

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CC’s Voice:
Hello there! Welcome to this course GE 20: Reading the 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.
CO:
Reading the Visual Arts enables you to have an ability to innovate, appreciate, critique,
and analyze. Through transdisciplinarity and multimodal approaches, this course equips
students with broad knowledge of the human disciplines that characterized modernity, cultural
studies that underpinned modern life. Knowledge on the tacit understandings people have of
the visual domain, cultivate their imagination, make sense of the importance of visuality,
explore the effect the idea of aesthetics has on reading of visual texts, analyze the economic
effects of a globalized market, and illustrate explanations and arguments with images and
anecdotes that are highly eclectic. All these are grist to the mill when studying visual culture,
and in developing the sorts of literacies that allow us to read and analyze the visual material
that makes up our everyday world.
This course helps you to identify the basic elements and principles of reading visual art,
visual technologies and understand its meaning. This will enable you to exemplify imaginative
ability which are essential in communication and the visual and the visual narratives. It also
helps you apply analytical and critical skills in describing both Visual Arts and communication
literacy. This will produce innovative and highly eclectic presentations using the modern
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Let’s us begin!
Big Picture in Focus:
WeekULO-d.
7-9 : Demonstrate
Unit Learning Outcomes
a deep knowledge(ULO
on -the
c) media as spectacle.
Weeks 8-9: Unit Learning Outcomes (ULO-d)

At the end of the unit, you are expected to:
A. Demonstrate a deep knowledge on the media as spectacle
B. Design a TV interview and present it in front of the class using the PWA approach.
Metalanguage
In this section, the most vital terms meaningful 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.
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.
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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. 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 main function is arguably 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
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• Look at the pictures above.

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

performances. Nevertheless, it is quite different according to an expert of arts. 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).
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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 catalogues,
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 20 th century or in
21st century. Contemporary artist work globally influenced, culturally diverse, and
technologically advancing world. Their art is a dynamic combination of materials, methods,
concept, and subjects.
The Society of the Spectacle
Self-proclaimed leader of the Situationist International, Guy

Debord was certainly responsible for the longevity and high
profile of Situationist ideas, although 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 own 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 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.
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* 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
* 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.
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• 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 very large 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 own authority, it is founded in its own name, and it invents its
own 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. ’
• The most famous samples of what we can call the visual interpellation of the individual as
a member of a nation state is the Roland Barthes’ analysis, in Mythologies, of a photograph
from the French magazines Paris-Match. (Refer to the picture above and to Reading Visual
PDF pp. 170-172)
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4.3 The Imperative to Communicate
(A)
(B)
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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 it 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
Communication is not an opportunity; it’s a necessity.

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

2015). It is 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).
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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
community, social media, and thefaculty. Retrieved May 11, 2020
https://www.aaup.org/article/imagined-communities-social-media-and
faculty#.XstY22gzbIU
Let’s Check
Activity A: Vocabulary Enrichment. Arrange the following jumbled letters in order to form a
workable word. You are guided with the 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 means to use in almost every aspect of our society, especially in the
marketing of merchandise
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Activity B: Answer the questions with justifications. (20 pts)
1. Can social media cause revolutions? Explain.
Answer:
2. How can media attract the attention of the public?
Answer:
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Let’s Analyze
Activity A. From the most recognizable national icons, give the meaning or the message
that you read from them. Your answer should be in a paragraph form and observe proper
writing mechanics.
1.
USA’s Statue of Liberty
Answer:
2.
Singapore Merlion Statue
Answer:
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3.
Philippine Carabao
Answer:
4.
Australia Kangaroo
Answer:
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Activity B: Scrutinize the two pictures properly. How do they express society spectacle and
architectural design?
1.
Answer:
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2.
Answer:
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In a Nutshell
Activity A. Based on the topics presented in Metalanguage and Essential Knowledge
sections, write the things you have learned.
1. ______________________________________________________________________
2. ______________________________________________________________________
3. ______________________________________________________________________
Q & A List
Do you have any question for clarification?
Questions/Issues Answers
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Keywords Index
Contemporary Art Interpellation Society
Imagine Community Media Spectacle
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College of Arts and Sciences Education

Matina Campus, Davao City

Physically Distanced but Academically Engaged