Course Information
SemesterCourse Unit CodeCourse Unit TitleT+P+LCreditNumber of ECTS CreditsLast Updated Date
8RES418Visual Perception II2+0+02313.07.2026

 
Course Details
Language of Instruction Turkish
Level of Course Unit Bachelor's Degree
Department / Program Painting
Type of Program Formal Education
Type of Course Unit Elective
Course Delivery Method Face To Face
Objectives of the Course The aim of the Visual Perception II course is to learn about the technological, political, cultural, and artistic developments that have influenced visual perception from the 1960s to the present and to reinforce these with practical applications. Upon completion of the course, students are expected to gain knowledge of the use of light, image production, reproduction, and manipulation techniques, as well as virtual reality, augmented reality, and mixed reality. Furthermore, the aim is to develop aspiring artists who can recognize, critique, and analyze perceptual processes in the relationship between vision and objectivity.
Course Content In this course, students learn about technological developments used in art and impacting culture from the 1960s to the present. In particular, examples are provided of how computers and new image-making techniques have changed the perception of reality. Students practice using basic digital tools and image-making with accessible mobile device applications. The theoretical knowledge learned is reinforced through practice, and then, based on impressions and experiences, critical perspectives are gained through discussions on visual perception and the future. A group of cognitive-visual processes called visual perception phenomena are introduced, enabling students to recognize what they see, change their relationship with objects and their environment, and increase their awareness.
Course Methods and Techniques Presentations, Implications and Short Writings (essays, papers)
Prerequisites and co-requisities None
Course Coordinator None
Name of Lecturers Research Assist.Dr. CANSU BAŞDEMİR
Assistants None
Work Placement(s) No

Recommended or Required Reading
Resources Uçar, T. F., Visual Communication and Design, Inkılap Kitabevi Becer, E., Communication and Graphic Design, Dost Bookstore Genç, A., Sipahioğlu, A., Visual Perception / Creative Process in Art, Nadir Kitap
Course Notes Arnheim, R. (2015). Görsel düşünme (R. Öğdül, Çev.). Metis Yayınları.
Berger, J. (2017). Görme biçimleri (Y. Salman, Çev.). Metis Yayınları.
Genç, A., & Sipahioğlu, A. (1990). Görsel algılama: Sanatta yaratıcı süreç. Sergi Yayınevi.
Zeki, S. (2013). Görme ve beyin: Sanat ve nörobiyoloji (A. Ç. Akkoyunlu, Çev.). Yapı Kredi Yayınları.

Course Category
Social Sciences %20
Education %20
Field %60

Planned Learning Activities and Teaching Methods
Activities are given in detail in the section of "Assessment Methods and Criteria" and "Workload Calculation"

Assessment Methods and Criteria
In-Term Studies Quantity Percentage
Mid-terms 1 % 50
Final examination 1 % 50
Total
2
% 100

 
ECTS Allocated Based on Student Workload
Activities Quantity Duration Total Work Load
Course Duration 14 2 28
Hours for off-the-c.r.stud 14 4 56
Mid-terms 1 2 2
Final examination 1 2 2
Total Work Load   Number of ECTS Credits 3 88

 
Course Learning Outcomes: Upon the successful completion of this course, students will be able to:
NoLearning Outcomes
1 Can use the knowledge gained about new image production techniques in art in creative visual projects.
6 To learn and apply how visual perception can be organized through complex compositions and mixed techniques such as collage.
Bilgi 
2 Be able to define new reality applications (AR, VR, MR) in art and their working principles.
3 Students can analyze examples of how virtual reality, augmented reality, and mixed reality applications are used in art and can develop projects. Recognizes these applications and can   create   stories.
7 They learn semiotics and use it to analyze visual cultural outputs.
Beceri 
5 Students learn about symbolic meanings and concepts like metaphor and allegory in art, and can examine and interpret them in works of art.
Yetkinlik 
4 Students will acquire theoretical and practical knowledge about digital photography manipulation and image production in digital design applications. They will be able to transform what they learn into short projects and reproduce and share these projects on digital platforms.

 
Weekly Detailed Course Contents
WeekTopicsStudy MaterialsMaterials
1 An examination of the use of changing image production techniques in art between the 1980s and 2020s. Interactive art and media. Pita Arreola, Corinna Gardner, Melanie Lenz. 2024. Digital Art 1960s to Now. Thames&Hudson
2 Introduction to digital design tools and short exercises (Adobe Photoshop and Illustrator). Practical discussion of the effects of digital manipulation and color adjustment in photography. To download any digital design application (mobile) https://youtu.be/d57vwBqGO5g?si=NFIu6mt6V9amGCBi https://youtu.be/nU90GKr1EP8?si=h3_P_4T6DQFSYnlI
3 Producing artworks with digital production tools The website https://zkm.de/en should be examined in terms of its aesthetic qualities.
4 Analysis of produced digital artworks: A presentation on new analytical methods and approaches in contemporary art. The following resources should be reviewed before attending the course: 1- Lev Manovich – The Language of New Media & Cultural Analytics 2- Christiane Paul – Digital Art (Thames & Hudson) 3- (Link in documents section) Matthew Fuller – Software Studies: A Lexicon 4- Rhizome (rhizome.org), ZKM website https://monoskop.org/images/a/a1/Fuller_Matthew_ed_Software_Studies_A_Lexicon.pdf https://zkm.de/en/publications
5 Presentation: Introducing new realities and tools in art. Learning about the historical development of applications such as virtual reality, augmented reality, and mixed reality, and the changes they have brought about. Discussing how art and visual perception have changed and are likely to change. Preliminary research on augmented reality applications (internet resources) https://youtu.be/gR7fJ-mNSdY?si=z5NcGBL7GytFuHzM
6 Organizing a field trip and visiting artist studios/galleries within the scope of the topic. Goal: To understand how AR, VR, and MR applications are implemented. Students are asked to create a story based on what they have learned.
7 Discussion, brainstorming, and speculative development of solutions on how the eye, as the primary tool of visual perception, could be equipped with future applications and technologies, and how our visual perception could be manipulated. Submission: A one-page written essay on these topics.
8 Evaluation of papers and submission to academic events (symposiums, congresses, conferences) https://www.conference2go.com/event_category/arts/?gad_source=1&gad_campaignid=23436282601&gbraid=0AAAAAC_KZhME6fSc0DMapYLrgmgwGxfNY&gclid=CjwKCAjwmdLSBhANEiwAkREMN6PvuaP7nMCZ43_NlWc8WKhFkQIJbMB0FirJpT3s6Ww2rHBdfePPghoCV-cQAvD_BwE
9 A project to transform self-portraits created in a studio setting into short videos using artificial intelligence software. Analysis of the results in classroom.
10 Presentation: Information about visual phenomena (Pareidolia, Simulacrum, Anthropomorphism, etc.). Discuss the working principles of early optical toys such as the thaumatrope and the praxinoscope. -Pareidolia: The tendency to see meaningful shapes in ambiguous stimuli. -Simulacrum: The perception of shapes resembling human faces in nature or objects. -Anthropomorphism: Attributing human characteristics, emotions, or intentions to inanimate objects. For example, seeing "eyes" in car headlights. -Patternicity: The brain's tendency to "necessarily search for patterns" in random data. -Multistable perception: The ability of an image to be perceived in more than one way, with the brain switching between them. -Matrixing (Face Seeking Tendency): The human brain's tendency to quickly recognize patterns, especially face-like ones. Related to the survival instinct (early detection of danger). -Confabulation (Filling in): The mind spontaneously filling in missing sensory information by "storytelling." Making sense of gaps in visual perception. https://www.scientificamerican.com/article/patternicity-finding-meaningful-patterns/
11 Experimental photography of visual phenomena I
12 Experimental photography of visual phenomena II
13 Experimental photography of visual phenomena III It is requested that the photos taken be submitted using a digital tool.
14 Manipulation techniques of photographs related to visual perception phenomena such as pareidolia taken using AR application

 
Sustainable Development Goals
Contribution of Learning Outcomes to Programme Outcomes
P1 P2 P3 P4 P5 P6 P7 P8 P9 P10 P11 P12 P13 P14 P15
All 5 5 5 5 5 5 5 5 5 5 5 5 3 5 4
C1 4 4 5 5 4 5 5 5 4 5 4 5 2 5 4
C6 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
In2 5 5 5 5 5 5 5 5 5 5 5 5 2 5 4
In3 5 5 5 5 5 5 5 5 5 5 5 5 2 4 4
In7 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
Sk5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
Co4 5 5 5 5 5 5 5 5 3 4 5 4 2 5 3

  Contribution: 1: Very Slight 2:Slight 3:Moderate 4:Significant 5:Very Significant