KLYN MARION D.

PONTERO 01/25/21
GE20 (10305)
Activity 2. 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
The word genre has been used historically to "distinguish between drama,
fiction, and poetry." As 'genre' started to refer to a much wider range of text
types in the 1980's (letters, memos, articles, proposals), the teaching of
writing also began to be informed. A drawback of these uses of the term
genre was that they merely defined text types and made generalizations
regarding their normal forms. So teaching centered on trends and
organizations, but not on why we write these genres, or whether and how
to write a letter or a proposal. Instead, current uses of the word genre
emphasize that "occurs in a situation" in every genre of writing. The situation
has an audience, an intent, a context or environment, a collection of planned
and acceptable answers, and a justification for
The writer to write.

2. Text and Intertext

An analytical approach to these problems is indicated by the idea of
"intertextuality." It is used in situations where the units of meaning in one
text apply to the units of meaning in another text and means that the
meaning of the text depends not on the author's purpose, but on the
understanding of the relationship between texts by the readers. In the
1960s, and in the last fifteen years, the term intertextuality was introduced.
However, this intensive discussion has arguably made only minimal
conceptual progress. Since the concept has failed to develop significantly
over such a long period, perhaps it should be abandoned in favor of
something more worthwhile.

3. Seeing as Reading
The extent to which seeing and reading share a common ground that
provides the basis for sense conception. The distinction between seeing
and reading cannot be adequately defined as the difference between, in the
case of seeing, passive reception of meaning and, in the case of reading,
active construction of meaning. On the other hand, both seeing and reading
require constructive communication with an environment that allows one to
understand the meaning of both sight and language. Therefore, sense is in
the universe waiting for sensory and linguistic forms to be discovered.
 Artists find meaning when they set out to produce a piece of art and when
they eventually see or read artworks, viewers discover meaning. Therefore,
the essence of a work of art resides within the work of art itself, but
represents the artist who generated its intentions and creativity and evokes
the co-creative involvement of the viewer who re-discovers it

4. New Technologies of Seeing

First, technology's nature is not something we make; it's a mode of being,
or revealing. This implies that technical items have their own new kind of
presence, resilience, and component and wholesale relations. They have
their own way of expressing themselves and the world they are working in.
Therefore, modern machines are not merely more developed or self-
propelled versions of old instruments, such as spinning wheels or water.
The essence of technology "has already eliminated all those places where
the spinning wheel and water mill previously stood from the outset."

5. Tacit Seeing
Tacit seeing is best if we truly need to get via the day’s responsibilities and
activities, however it's miles inadequate if we need or want to make
experience of what we're seeing.

6. Techniques of Seeing as Reading

There are two crucial elements right here the interest and focus. If we're
attending intently or cautiously to an event, person, thing, or scene, we can
create a textual content made of what we name contiguous elements.

7. Seeing as Literacy
Visual literacy is an evolving concept best defined as the ability to think and
learn in terms of images and is a reaction to the awareness that
contemporary culture is increasingly captured by and reflected in visual
documents.

8. Arresting Reality
It is in motion, gives it limit and frame and place in the prevailing universe
of experience and aspirations, gives it a value in this universe, makes it an
object among others.
9. Seeing in Context
Context consists of all of the things about the artwork that might have
influenced the artwork or the maker artist. These would include when the
work was made where it was made both culturally and geographically why
it was made; and possibly some other details or information.