V I S U A

L
TECHNOLOGIES
AND
TOOLS
 INTRODUCTION
In this chapter, know the physiology and
neurology of seeing and also the visual
apparatu ses and technologies people
have developed o v e r the centuries a s
aids for seeing.
PHYSIOLOGY

AND
SEEING
PHYSIOLOGY AND
SEEING
I. The Role of the B r a i n in
Visual P e r c e p t i o n
Half of the brain is dedicated to visual
recognition
The optic nerve transmits information from the eye
to the brain.
The retina organizes the visual
information The brain constructs what
we see
PHYSIOLOGY AND
SEEING
II. The Physicality of
Visual P e r c e p t i o n
The history of theories of perception emphasizes
the physical nature of the process
Plato Proposed the notion of vision by extramission
and Aristotle argued that the water in the eye
transmits an image through to the soul.
PHYSIOLOGY AND
SEEING
II. The Physicality of
Visual P e r c e p t i o n

Descartes compared seeing to feeling one's

way through the world with a stick
Sigmund Freud believed that seeing is
derived from touching
 PHYSIOLOGY AND
SEEING
II. The Physicality of
Visual P e r c e p t i o n

According to Jay 1993 Sight involves not only

sensory experience but also rational thought.
Seeing they tell us, involves a huge amount of
practice, and the application of an enormous portion
of the brain (Hoffman 1998)
 PHYSIOLOGY AND
SEEING
II. The Physicality of Visual
Perception

As early as the eighteenth century, scientist Isaac

Newton 36 visual technologies wrote: ‘Rays to speak
properly a re not coloured. Nothing else than a
certain Po w e r and Disposition to stir up a Sensation
of this or that Colour’ (Newton 1730/1952: 124).
SEEING IF THE

WORLD
 IN G IF THE
SEE
WORLD
Refers to the fact that diff erent
Perceptio
individuals may perceive and
n Va r i a t i o n interpret a work of art
differently.
Re f e r s to how the culture, beliefs,
I n fl u e n c e d o f and values of a society o r a
particular group of people can shape
Cultural and impact the creation,
Fr a m e w o r k s interpretation, and understanding of
art.
 IN G IF THE
SEE
WORLD

Lingling-O
 IN G IF THE
SEE
WORLD
Relational Mu ltifac e te d
N a t u r e of Nature of
Vision
The idea that how we see and interpret Perception
visual artworks is not solely determined
Refers to the idea that the way
by the characteristics of the art object
individuals perceive and interpret
itself, but is influenced by the
artworks is complex and can
relationship between the viewer and the
artwork. involve various dimensions and
factors
 IN G IF THE
SEE
WORLD
 IN G IF THE
SEE
WORLD
Subjective Being in
Experience the World
An individual's personal and unique A philosophical concept that extends
response to, interpretation of, and beyond the artistic realm and
emotional engagement with a work of pertains to our existence and
art. interaction with the world as a whole.
 T A C I T
SEEING
 TACIT
SEEING
cultural background
Com ple x
values
N a t u r e of individual
experiences
Perception
 TACIT
SEEING
unchanging or
The
unwavering past
P r i n c i p l e of experiences

Constancy
 TACIT
SEEING
balance
Tacit Seeing a n d
function
Conscious- effectively

Unconsciousness
SEEING A S
LITERACY
 THE EX P ANDING

DEFINITION OF LITERACY
Traditional notions of literacy have focused on the
ability to read and write text. However, in today's
increasingly visual world, it is becoming increasingly
important to consider visual literacy as a critical
component of overall literacy. Discuss the
significance of visual literacy in the 21st century and
how it has expanded the definition of literacy beyond
the written word.
 I M P A C T OF
VISUAL LITERACY
Visuals play a powerful role in shaping our perceptions
and influencing our understanding of the world around
us. Explore the ways in which visual literacy aff ects
how we communicate, process information, and make
decisions. Discuss the potential benefits and
challenges of relying on visuals as a primary source of
information.
 G V IS UA L
DEVE LO PIN
RAC Y S K I LL S
LITE
IN THE DIGITAL AGE
In a world saturated with visual media, it is essential to
equip individuals with the skills necessary to critically
analyze and interpret visual information. Propose
strategies and approaches for fostering visual
literacy skills in the digital age, considering both
formal and informal educational settings. Discuss the
role of technology in enhancing visual literacy
education.
ARRESTING
REALITY
 A RRESTING
REALITY
Photography is often associated with the "arrested
image" because it freezes time and motion, unlike
paintings or sculptures, which rely on the viewer's eye
movements to convey movement, leading to the
perception that photographs capture a "false"
moment while other art forms depict "true"
movement.
 A RRESTING
REALITY
Photographs can create a "reality effect" by freezing
moments in time, but this can lead to discrepancies
between the frozen image and our perception of the
actual moment in motion, as evident in passport
photos or unstaged snapshots.
 AR RE S T I N G
REALITY
Photographs can challenge our perception of reality
by presenting the world in unfamiliar ways through
changes in proximity, perspective, and lighting, thus
jolting viewers out of their complacency about their
surroundings and the spatial dimensions they assume.
 AR RE S T I N G
REALITY
This example illustrates how even seemingly
mundane objects, like a fork, can be
transformed into thought-provoking subjects
when viewed with a fresh perspective,
challenging conventional perceptions and
encouraging artistic exploration.
 AR RE S T I N G
REALITY
This strange thing must have
crept Right out of hell.
It resembles a bird’s foot
Worn around the cannibal’s neck.
As you hold it in your hand,
As you stab with it into a piece of
meat,
It is possible to imagine the rest of the
bird: Its head which like your fist
Is large, bald, beakless and blind.
 S PA C E A N D
PERSPECTIVE
"SPACE" CAN REFER TO THE THREE-DIMENSIONAL ENVIRONMENT
WITHIN WHICH OBJECTS ARE POSITIONED. CREATING A SENSE OF
SPACE INVOLVES TECHNIQUES SUCH AS 3D MODELING AND
RENDERING, WHICH ENABLE THE REPRESENTATION OF OBJECTS IN
A VIRTUAL 3D SPACE, GIVING THEM DEPTH AND VOLUME.

PERSPECTIVE: PERSPECTIVE IN THIS CONTEXT RELATES TO THE WAY

OBJECTS ARE REPRESENTED IN A TWO- DIMENSIONAL IMAGE OR
ON A SCREEN TO GIVE THE ILLUSION OF DEPTH. TECHNIQUES LIKE
LINEAR PERSPECTIVE, VANISHING POINTS, AND DEPTH OF FIELD
ARE USED TO CREATE A REALISTIC SENSE OF DEPTH AND DISTANCE
IN VISUAL MEDIA.
 BEYOND
LINEARITY
Beyond linearity refers to the idea
that not all forms of linear
perspective can be categorized
under a single logic. Just because
something appears to follow similar
internal rules, it does not mean that
it is attempting to achieve the same
objectives. Diff erent cultures may
incorporate elements of linear
perspective, but with diff erent
intentions and imperatives.
REPORTED BY VANESSA RAMOS
JAPANESE UKIYO-E
Japanese ukiyo-e woodprints were influenced by Chinese woodblock prints that
incorporated Western linear perspective. However, these prints were not realistic in
Western terms and did not convey the same sense of depth and three-dimensionality.
The ukiyo-e prints aimed to represent the "floating world" of the Japanese court in the
17th century and capture the life, values, and aspirations of the people.
 MAPS
Maps are another example of using
perspective to represent space. Even
though maps don't look like the actual
landscapes they depict, they use
symbols and scales to help
understand and navigate the us
space.
 VIDEO GAMES
Other kinds of perspective are found in many video
games, especially those which make use of
high-quality graphics to convey the player through
the story and action of the game. The Age of
Emperors series, for example, manages several
types of perspective, and demands sophisti cated
visual ability of its readers/ users.

Video games use diff erent perspectives to make

players feel immersed in the game world.

• Two-dimensional Perspective
• Three-dimensional Eff ect
• Distorted Perspective
• Atmospheric Perspective
• Fo rc e d Perspective
 TECHN OLOGIES
NEW
OF SEEING
New technologies have greatly impacted the field of
visual arts in recent years, off ering new ways to create,
experience, and interact with art. Technology has
profoundly reshaped the visual arts in various ways:
DIGITAL TOOLS
The widespread availability of digital tools
and software has revolutionized art
creation.
 NEW
M EDIUMS

Vi r tu a l Reality Augmented
(VR) 3D Printing
Reality (AR)
 GENERATIVE
ARTS
Generative Art is a process of
algorithmically generating new
ideas, forms, shapes, colors or
patterns.

Artists create rules that provide

boundaries for the creation process.
Then a computer follows those rules
to produce new works on your
behalf.
 ATION
A RT S PRESERV

USING TECHNOLOGY

Laser
Ablation
Engineers choose a low-energy (large)
wavelength that will interact strongly
with the dirt and varnish, but not as
much with the surface of the art
itself.
 ATION
A RT S PRESERV

USING TECHNOLOGY

Bacteria
Engineers found that a certain
strain of bacteria, Pseudomonas
stutzeri, consumes many of the
common pollutants found in artwork.
 T Y P ES
OF STOP-MOTION

Digital Sales Art

and Accessibility
Promotion
Blockchain
Art
and NFTs
Education
 CONCLUSION
In summary, the document "Reading the Visual" by
Tony Schirato and Jen Webb delves into the interplay
between how we read visual content and the impact
of visual technologies. It emphasizes o u r active role
as viewers, shaping what we see through
techniques like selection and omission, while also
highlighting the infl uence of digital manipulation on
image reliability.
The text discusses how visual narratives have
evolved over time, intersects with normalisation and
capitalism, and touches on the role of media in
perpetuating dominant visual regimes and
occasionally allowing f o r alternative interpretations.
 THANK YOU

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