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shall decode the text information comprised in the code. QR code may com- prise letters, numbers and it is able to comprise various quantities of infor- mation according to the contents. Thus a QR core may comprise: web address, e-mail address, telephone num- ber, contact information (SMS, MMS, geographical position, data about an event – name, place, time, duration). A mobile telephone with a camera and installed QR code reader is necessary for the recognition of QR code data. Raster graphics. (Raster graphics). In computer terminology, it desig- nates the way of storing the graphical information through the descrip- tion of the individual points, arranged in the imaginary grid. Each point (pi-xel) has its own exact position in the grid, colour and other parame- ters, for example transparency (alpha channel) defined. The colour of the point (pixel) may be described using the colour model describing the indivi- dual points by mixing the basic colours or the colour and brightness. The amount of used bits necessary for the description depends upon the selec- ted colour depth. For example, when just black and white colour is used, a single bit is enough for the description of the colour of one point. The size of a picture also depends upon resolution, stated in DPI (dots per inch). The resolution of 72 DPI would be enough for displaying on a monitor; at least 300 DPI would suffice for printing on a printer. Raster graphics editor. Any graphic editor through which we may modify graphic elements, both vector and raster (bitmap) ones. The best known editor is Adobe Photoshop, however, there are many others: The commer- cial ones (Adobe Photoshop, Adobe PhotoshopElements, CorelPainter, CorelPainter Essentials, CorelPaintShopPro, CorelPhoto-Paint, Corel- PhotoImpact, NeoPaint, Pixel Image Editor, PhotoPerfect, Pixelmator, RealWorldPhotos, TVPaint). Opensource ones (GIMP, DigiKam, Kri- taPinta, KolourPaint,TuxPaint, GrafX2, XPaint, GNU Paint, MyPaint). 99

Freeware products (Artweaver, Pixia, Paint.NET, IrfanView, Fatpaint) suitable for professional, semi-professional or amateur use. Vector gra- phics editors are: commercial (Adobe Illustrator, Macromedia FreeHand, Adobe Fireworks, CorelDRAW, SerifDrawPlus, XaraXtreme, and Fat- paint). Opensource (Inkscape, Ipe, Karbon14, OpenOffice.org Draw, sK1, Sodipodi, SVG-edit, XaraXtremefor Linux, Xfig). RGB. RGB colour is used just for displaying on monitors or TV sets, it is the colour in digital form. In fact, it expresses just three colours – RGB, where R = Red, G = Green, B = Blue. In colour TV sets or old CRT monitors, there are three separate electron rays: red, green and blue. These rays project images that we see as colours. In the case of LCD monitors or TV sets, the RGB colour model is mostly used for encoding of the colour of a point of the image, called pixel. Black colour is achieved by displaying nothing on the screen, thus the value of R = 0, G = 0 and B = 0. White colour is achieved by combining all three colours with maximal saturation, which in the case of a single point means R = 255, G = 255, B = 255. Semiotics. The theory of characters. It investigates how the words and things (images and objects) become the carriers of meanings. Semiotics is the tool of the analysis of the characters of a certain culture and of the way the meaning is created within a certain cultural context. Social media. Everything taking place on-line now: text, video, pictures, photographs, audio and other media, created and shared by „common peo- ple” from decentralised sources. Social networks. The term for the tools and platforms used by people for conversation, publishing and sharing of the contents on-line. These are for example blogs, wiki, podcasts and webs for photograph and bookmark sha- ring. Example: Facebook, Twitter, Flickr, etc. 100

Symbol. A character expressing a term (but it also designates a person, group, etc.) that is understandable on the basis of a convention for all users or just a certain informed group. Symbolic character. The term used in semiotics by Charles Peirce for the designation of the characters without a bond between the naming subject (word/image) and the named object, save what is given by conventions. The linguistic systems are primary symbolic systems. For example, the word „university” physically does not represent any real university (it is not ico- nic) and it has no physical interconnection with the university (it is not in- dexical) and therefore it is a symbolic character. TIFF. (TagImageFileFormat). One of the file formats intended for saving for raster computer graphics. TIFF format represents the unofficial standard for saving the shots intended for press. The format facilitates saving of se- veral pictures or layers in a single file. It is extensible, which means the ap- plications may insert their own data in it without interfering with the legibi- lity of the file in another application. Vectorgraphic. (Vector graphics). It designates the method of defining pic- torial information using the basic geometrical primitive elements, such as point, line segment (vector), line, curve, polygon, thus such elements that may be expressed using mathematical formulas. It is the graphics composed of many lines, bends, curves and various geometrical elements and it keeps the same quality and sharpness also after manifold zooming. The recognized programs for work with vector graphics are: Inkscape, CorelDraw, Adobe Illustrator. Visual. The word is taken from Latin with the following meanings: First: visual presentation of an institution or organisation given by a harmonic complex: theme, logo, visage, design, trailers, etc. Second: in television, the 101

„visual, visible component of television production”. Nowadays, the given meanings are supplemented by another one, derived from English economi- cal (administrative) terminology, „the detailed outline”. The synonymous expressions to the word „visual” with the given (third) meaning are sketch, display, detailed outline, or draught, picture, etc. Visuality. The quality or condition of visual being. Many theoreticians state visuality characterises our era, because pictures dominate in the majority of media and in the space. They stress out the overall quality of visuality and the role of visuality in culture and thus not its specific fields (photography, video) that are intended for looking at the products of visual art. Visuality need not to focus just on the visual texts, it may focus also on the methods thanks to which the everyday objects or people are perceived by us. Visual intelligence. An active and holistic capacity that is at the supreme level of sensory/perception hierarchy. It is based on the activation of a short- term and long-term memory. Visual intelligence connects motoric coor- dination and verbal language; it has its own universal grammar, based on the following principle: point, line and colour within a basic communica- tion framework. Visual literacy. It is the ability to develop meanings from everything we can see, to find sense in everything we can perceive. It is also the form of critical thinking increasing our intellectual capacity and facilita- ting the interpretation of the contents of visual images to investigate the social impact of the visual pictures, to posses the ability of internal visualisation, to discuss about their meanings with the target group (they are intended for), to visually communicate, read and interpret visual images, to create opinions of accuracy, validity and abundance of pictures. Web 2.0. Second generation of web enabling the user without special tech- nical knowledge and skills to create his/her own web pages, to publish his/ her own contents, to create and publish audio and video files, share photo- graphs, information, etc. The Web 2.0 platform is connected with the raise of social networks, the collaboration of various communities, blogging, de- velopment of web encyclopaedias and knowledge sha-ring (wiki). 102

Webhosting. To rent a space for web pages on a foreign server. The renter of the server is called webhosting provider (web space provider). Thanks to webhosting we may place our web pages on the Internet without having our own server. Webinar. The acronym for a seminar organised by means of the web. We- binar is for example also a presentation, lecture, workshop or seminar trans- mitted via web. Web portal. Web page (web server) that is the entrance gate to other pages and information channels. The best known portals are: the global portals Google, Bing, Yahoo, that monitor in detail also all the contents of web in Slovak language. The best known Slovak portals are Zoznam.sk, Centrum. sk, Atlas.sk. Widget. A general term designating the portion of graphic user interface which enables the user to communicate with the application and operation system. Widget displays the information and in many wys invites the user to act. The typical widgets are buttons, dialogue windows, pop-up windows, pull-down menus, icons, scroll bars, the changes in the size of windows, etc. Wiki. The web page enabling its visitors to add, remove and modify their contents. It is based on the idea of a mutual creation and mutual information management on web pages. Wikipedia, on-line encyclopaedia is one of the best know wikis. World Wide Web. A distributed hypertext Internet information system in which the documents contain links to other local or distant documents. YouTube. Web page with videos, where we can publish, share and comment clips from TV, film and amateur videos. A similar page intended for video publishing is Vimeo. 103

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REGISTER A A child 28, 29, 30, 31, 46, 79, 80 Ability 14, 17, 18, 19, 20, 21, 22, 32, 33, 35, 38, 45, 51, 52, 58, 64, 80, 81, 90, 96, 97, 102 Abstract 36, 44, 47, 50, 51, 58, 61, 77 Abstraction 45, 52, 87 Acronym 89, 93, 103 Adobe Acrobat 87 Adobe Illustrator 87, 100, 101 Adobe Photoshop 87, 88, 99 Analyse 19, 64, 115 Art 5, 6, 15, 27, 28, 35, 38, 43, 44, 45, 46, 47, 48, 49, 53, 56, 57, 58, 60, 71, 76, 77, 78, 81, 91, 98, 102, 104, 105, 106, 107, 109, 111, 112, 113, 115, 117, 119, 121, 123, 124, 127, 139 Artefact 10, 78 Audio 20, 87, 100, 102 B Bing 103 Bit 87, 88, 89, 93, 94, 97, 98, 99 Bitmap editor 88 128

Bit-mapped graphics 87 Bits per inch 88 Blog 91, 88 Bookmark sharing 100 Broad sense 13, 58, 71 Browser 95 Building 119 C Click 25, 26, 101 Clipart 89 Coding 60, 61, 63, 119, 122 Cognitive 117, 120, 125, 126 Color 89 Comment 89, 91, 103 Communication 40, 43, 49, 52, 55, 61, 62, 65, 78, 79, 80, 81, 87, 91, 96, 102, 104, 106, 107, 108, 113, 114, 116, 118, 119, 124, 125, 126, 127 Communication channel 39 Communication literacy 12, 13 Composition 17, 49, 51, 76, 87 Computer 89, 90, 92, 93, 94, 96, 97, 99, 101 Concept 9, 15, 20, 44, 65, 95, 105, 109 Connotation 51, 77 Copyright 89 129

Creative thinking 71, 109 Culture 10, 13, 14, 31, 32, 45, 78, 100, 106, 108, 113, 118, 121, 122, 123, 124, 126 D Decode 14, 17, 90, 97, 99 Denotation 27, 77, 78 Design 101, 111, 114, 115, 120, 121, 124, 126, 127 Desktop publishing 90 Differentiation 77 Digital divide 90 E eBook 90 e-book reader 91 Emphasis 76 F Face 10, 12, 91 Facebook 10, 11, 91, 96, 100 Film 5, 9, 10, 11, 38, 89, 95, 103, 123 Flickr 71, 92, 96, 97, 100 Font 92 Font size 92 Form 6, 10, 13, 15, 17, 19, 20, 37, 41, 43, 44, 45, 47, 49, 130

50, 51, 53, 57, 59, 61, 71, 76, 77, 78, 89, 90, 91, 92, 94, 95, 100, 102, 119 Forum 92 G Genius 22, 24, 26, 28 Geometric shapes 49, 52 Gestaltism 40 Grammar 30, 33, 43, 44, 45, 46, 47, 50, 58, 102 Graphics 10, 49, 87, 88, 92, 93, 94, 101, 117 Graphics format 93 Groups 14, 15, 18, 36, 77, 89, 92, 96 Google 13, 95, 96, 103 H Harmony 55, 71, 76, 79 Hermeneutics 78 Holistic ability 32, 33 Homepage 95 Hyperlink 95 Hypertext 95 I Identification 60, 108 Icon 26, 95 131

Iconic 17, 47 Iconography 77 Iconology 71, 77 Image 10, 17, 18, 21, 23, 24, 26, 29, 39, 46, 47, 55, 57, 63, 79, 80, 93, 94, 95, 98, 99, 101, 106, 109, 120 Imagination 9, 18, 21, 35, 37, 38, 39, 40, 41, 54, 60, 61, 71, 80, 117 Information 5, 6, 9, 10, 11, 12, 17, 18, 19, 20, 21, 27, 37, 38, 59, 60, 61, 62, 63, 64, 65, 80, 87, 88, 90, 96, 97, 99, 101, 102, 103, 105, 113, 114, 124, 127 Information literacy 12, 13, 20, 96 Indexical character 101 Instagram 10, 11, 96 Intelligence 22, 24, 25, 27, 32, 33, 35, 46, 59, 78, 102, 106, 114, 120 Internet 9, 10, 11, 13, 18, 61, 90, 91, 92, 94, 95, 96, 97, 98, 111, 124 Interpretation 13, 41, 62, 77, 80, 90, 102, 109, 111 Intertextuality 77 J Judgement (judgment) 14, 23, 27, 28 L Language 7, 15, 16, 17, 20, 22, 30, 31, 33, 35, 37, 38, 40, 132

41, 42, 43, 44, 45, 46, 47, 48, 50, 51, 53, 57, 58, 59, 60, 61, 62, 63, 65, 76, 78, 79, 80, 94, 102, 103, 105, 112, 114, 115, 119, 121, 122, 124, 126 Learning 15, 16, 33, 43, 59, 62, 65, 71, 76, 77, 79, 80, 81, 105, 107, 108, 110, 111, 113, 114, 115, 116, 117, 118, 119, 121, 122, 126, 127 Line 17, 21, 26, 29, 33, 36, 44, 47, 48, 50, 51, 52, 76, 87, 91, 93, 101, 102, 103, 115 Linguistic 12, 30, 39, 44, 60, 61, 77, 101 Linguistics 6, 15, 39, 40 Literacy 6, 7, 9, 12, 13, 14, 15, 16, 17, 18, 19, 20, 58, 59, 60, 64, 65, 71, 78, 79, 81, 89, 90, 96, 97, 102 Logogen 101 M Mail 96 Meaning 6, 126Media 5, 6, 9, 11, 18, 20, 33, 62, 80, 88, 89, 90, 97, 100, 102, 104, 105, 108, 110, 112, 114, 116, 118, 122, 125 Medium 96 Media literacy 97, 105, 108, 112, 114, 122, 124, 125 Megabite 97 Megabyte 97 Message 38, 39, 45, 65, 80, 120, 126 Multicultural literacy 12, 13 133

Multimedia 10, 11, 20, 80, 97, 118 N Narrative 117, 48 New media 5, 18, 20, 80, 124 Non-verbal 13, 36, 37, 52, 60, 61, 78, 79 Non-verbal communication 79 O Offline 97 Online 98 Open 17, 53, 65, 92, 94, 116 P Paradigm 77 Parallelism 39 Perception 5, 6, 7, 10, 12, 14, 15, 16, 18, 19, 21, 22, 23, 26, 27, 31, 32, 33, 35, 36, 37, 38, 40, 42, 54, 60, 61, 71, 77, 78, 80, 102, 104, 106, 112, 119, 125, 126 Phenomenal sense 25, 24 Pixel 100, 99, 98 Point 15, 16, 24, 27, 29, 33, 35, 39, 40, 43, 44, 47, 49, 50, 51, 52, 54, 57, 61, 78, 87, 88, 99, 100, 101, 102, 115 134

Q Qr code 98, 99 R Raster graphics 87, 99 Raster graphics editor 99 Reception 20, 21, 33, 65 Recognition 14, 99 Reading 18, 20, 38, 59, 64, 80, 91, 106, 110, 113, 117, 122, 126 Relational sense 24, 25 Representation 77, 87, 94, 97, 112 Rhythm 17, 54, 76 Rotation 35 123 S Semiotics 71, 77, 95, 100, 101, 118 Semiotic analysis 77 Simulation 32 Sign 116 Social 6, 7, 9, 11, 13, 14, 18, 19, 21, 78, 89, 90, 91, 96, 100, 102, 113, 124, 125 Social network 11, 91 Sound 19, 28, 40, 78, 97 Space 10, 11, 14, 16, 22, 23, 28, 36, 44, 47, 49, 50, 53, 135

55, 58, 65, 71, 76, 78, 89, 102, 103, 121 Speech 12, 49, 59, 61 Structure 15, 22, 30, 40, 41, 43, 44, 47, 51, 53, 54, 76, 77, 78, 94 Symbol 54, 55, 56, 57, 65, 77, 91, 95, 101 Synthesis 36 43, 44, 45, 46, 54, 57, 58, 78, 79, 102, 117 T Technology 30, 105, 106, 107, 109, 110, 112, 118, 119, 120, 122, 126, 127 Television 5, 10, 11, 88, 90, 101, 102, 104 Textuality 77 Texture 51, 63, 76, 87 U Universal 17, 30, 31, 33 Universal grammar 30, 31, 33, 43, 45, 46, 102 Universal language 30 V Vector graphic 87 Verbal language 17, 33, 44, 48, 58, 60, 63, 79, 102 Video 9, 11, 32, 38, 47, 97, 100, 102, 103, 1132 Virtual world 23 Visual form 44, 47, 62 136

Visual communication 41, 42, 43, 44, 45, 48, 49, 50, 53, Visual culture 9, 32, 106, 108, 118 Visual intelligence 22, 23, 24, 25, 27, 32, 33, 35, 46, 59, 78, 102, 106, 114 Visual language 7, 15, 17, 20, 37, 40, 43, 44, 47, 48, 50, 57, 58, 59, 60, 62, 65, 76, 78, 79, 80, 117, 124 Visual literacy 6, 7, 9, 12, 13, 14, 15, 16, 17, 19, 20, 58, 59, 60, 64, 65, 78, 79, 80, 81, 102, 122, 123, 125, 127 Visual perception 6, 7, 10, 15, 17, 21, 22, 31, 32, 37 Visual thinking 7, 15, 33, 35, 36, 37, 40, 41, 42, 65, 81 Visual world 28, 29, 30, 32, 38 Visuality 21, 95, 102, 110 W Web 2.0. 92, 102 Webhosting 103 Webinar 103 Web portal 103 Widget 103 Wiki 100, 102, 103, 115 World Wide 96, 103 Y youTube 10, 11, 97, 103 137

ABOUT THE AUTHOR Prof. PaedDr. Božena Šupšáková, PhD., has a longterm study focus on communication as a phenomenon, anthropological basics of verbal and non-vernal language, cultural contexts of writing, drawing and images. Today, she is primarily dedicated to the research of children’s and youth’s paintings, she studies their meanings, including the creation of characters and symbols with subjective contents, which arise in social interaction and communication. On this issue, she already published several expert and scientific publications: Písmo a písanie (Script and Writing). Bratislava: UK 1998, Detský výtvarný prejav (Child’s Fine-Art Expression). Brati- slava: DIGIT 2000, Child´s Creative Expression through Fine Art. Lju- bljana: Debora 2009, Vizuálna kultúra a symbol v obrazovom vyjadrení detí a mládeže (Visual Culture and a Symbol in Pictorial Expression of Children and Youth). Bratislava: IRIS 2010, Detský výtvarný prejav: od čmáraníc k obrazom a ich významom (Child’s Fine-Art Expression: from scribbling to pictures and their meanings). Bratislava: DOLIS 2013, Slo- vo a obraz v komunikácii (A Word and an Image in Communication), Brno: Tribun EU, 2016 and others. Pregradual and postgradual education, current issues of the pedagogical theory and practice in the field of culture, art and media represent the second frame of her professional focus and scientific research. Within grant projects, her main focus is placed on the creation and verification of innovative educational models, which accentuate etnopedagogical and unusual approaches to education in multicultural environment. She also pays attention to interdisciplinary projection of educational models and their implementiation into cross-cutting themes of the State Educational Programme, or into school educational programmes. She has created a multimedial programme for the development of cultural literacy of chil- dren in the context of education. The author applies her scientific and expert knowledge and her years of experience into university education of future and current teachers, as well as into scientific education of PhD. students. She actively present- 138

ed it on several international conferences in Slovakia and abroad (Spain, Greece, Croatia, Slovenia, Poland, Czech Republic, Turkey, Ireland, Great Britain), and worked it out in several monographs, textbooks, study materials, conference miscellany, published with Slovak and foreign publishers (Greece, Croatia, Czech Republic, Hungary, Poland, Slovenia, Spain, Ireland, Bulgaria, Turkey, USA). Her publications belong among TOP 100 most borrowed books (from liberaries) by Slovak authors. We select: Projekty a alternatívne formy vo výtvarnej výchove (Projects and Alternative Forms in Art Education). Bratislava: DIGIT 1999, Vizuálna kultúra a umenie v škole (Visual Culture and Art at Schools). Bratisla- va: DIGIT 2004, Art Education: Retrospectives, Perspectives, Alterna- tives. Ljubljana: Debora 2007, Výtvarná výchova v systéme všeobecného vzdelávania (Art Education in the General School System). Bratislava: UK 2009; Vizuálna kultúra – umenie – vzdelávanie/Visual Culture – Art – Education. Bratislava: DOLIS 2010, Art & Media in Education 2012. New Challenges and Opportunities. Bratislava: IRIS 2012, The Media Literacy of Children and Young People. Bratislava: IRIS 2014; Vizuálna gramotnosť (Visual Literacy). Brno: Tribun EU, 2015. The contribution of Prof. PaedDr. Božena Šupšáková, PhD. to the peda- gogical sciences in the field of scientific-research, project, development and publishing activities is considerable and she has been awarded the Silver medal of the Faculty of Education, Commenius University, Bra- tislava, the Silver medal of the Faculty of Education, UPJŠ, Košice, and her name and CV has been enlisted in the encyclopedia of the Swiss pub- lishers Hübners blawes, Who is Who: Who is Who in the Slovak Repub- lic: biographical encyclopedia of important personalitied from the Slovak Republic. 139

Dimensions of Visual Literacy © prof. PaedDr. Božena Šupšáková, PhD. Reviewers: prof. Dr. Tonka Tacol doc. PaedDr. Bibiána Hlebová, PhD. Mgr. Art. Jana Szabóova, ArtD. Language correction of the English text: Mgr. Katarína Jablonská, PhD. This edition © DEBORA Ljubljana Cover Design © PaedDr. Jozef Zentko, PhD. Technical realisation of the cover © PaedDr. Jozef Zentko, PhD. Cover Photo © doc. Anita Rončević First edition, 2020 Number of pages: 140 Volume: 300 pieces Eelectronic version: http://www.arteducation.sk ISBN 978-961-7063-04-2