Maintains that an anthropological perspective offers exciting possibilities for developing intercultural understanding in the visual arts. Examines the problems encountered when applying this perspective to the visual art of radically different cultures. (JDH)

The central premise of this paper is that there is a group of visual thinking skills which are becoming increasingly foundational and basic to the education of a contemporary citizenry. These skills are becoming more vital as the use of digital imagery increases. The skills are independent of the external technologies (i.e., hardware and software)…

In this paper, a teaching model for the appreciative dimension of visual aesthetic education is presented, with a brief outline of the major theoretical sources used in its construction. (Author/SJL)

Delineates how the transition from one element to another facilitates the identification of individual form and function. Explains the process of bridging separate forms and functions to give meaning to what is seen. (KEH)

Argues that art education is basic to school learning because it develops three levels of visual communication skills: the use of visual symbols to communicate at a very general level; to communicate accurately and specifically; and to communicate uniquely and expressively. (Author/SJL)

Divides visual literacy into three categories: basic, artistic, and aesthetic. Maintains that this expanded conception of visual literacy contains the potential to significantly alter the content and methods of art education. (JDH)

Discusses the relationship between aesthetic value and the improvement of perception of visual artwork. Recent experiments have attempted to improve visual perception of school children, and to study their developmental preferences in art. But art has moral dimensions, and aesthetic education must also facilitate the appreciation of aesthetic…

Presents an interpretation of the history of the development of visual and verbal language, and argues for the place of electronic technologies of visual and oral languages in the language arts curriculum. (DF)

Since visual knowledge of the specialties within graphics and photography is difficult to pinpoint because it is nonverbal and intuitive, graphics educators fall back on teaching technical expertise--the procedures and equipment used for newspapers, magazines, and television stations. For centuries visual knowledge was the realm of the unlettered,…

Visualization as a factor of intelligence includes the mental manipulation of spatial configurations and has been associated with spatial abilities, creative thinking, and conceptual problem solving. There are numerous reports of scientists and mathematicians using visualization to anticipate transformation of the external world. Artists and…

Visual literacy--seeing with insight--enables child viewers of pictures to examine elements such as color, line, shape, form, depth, and detail to see what relations exist both among these components and between what is in the picture and their previous visual experience. The viewer can extract meaning and respond to it, either by talking or…

This volume contains 53 articles grouped under five headings: (1) Research (14 papers on such topics as cognitive style and cognitive strategies, visual literacy training, and the impact of diagrams, type styles, and computer graphics on learning); (2) Theory (nine papers on such topics as the development of visual literacy concepts, cognition and…

This document gives anecdotal stories of child art making along with philosophical interpretations for art teaching application. Art making is seen as experimental. It progresses from action to intentional mark making, naming, symbolic representation, and finally to "presence", an aesthetic creation experience that combines seeing and…