Discusses the major reasons why microcomputers have not yet become commonplace in the arts and describes how the College of Communications and Fine Arts at Southern Illinois University (Carbondale) researched, planned, and implemented a college-wide computer technology program. (GEA)

A consultant tells about her experiences in helping a small college to develop and install a computer graphics program. Educators must take care when planning because, although some aspects of computer graphics may be attractive and seductive, they may not be practical for a particular situation. (RM)

The author taught a computer graphics course through a service-learning framework to undergraduate and graduate students in the spring of 2003 at Florida State University (FSU). The students in this course participated in learning a software program along with youths from a neighboring, low-income, primarily African-American community. Together,…

The experiences of 11 gifted and talented adolescents who participated in a two-week summer microcomputer graphics course at Indiana University are described based on course observations by the author. Focus is on technical and aesthetic course expectations and on psychological and contextual considerations of the teacher and the students. (RM)

Discusses the origins of an exemplary model to serve as a guide for the implementation of computer graphics in the art classroom. Describes how the "Indiana Computer Graphics Cadre" developed a curriculum guide and organized workshops to instruct other art teachers in this area. (KM)

Examines the nature and future of computer graphics as an art form. Characterizes four basic beliefs about art and considers their relevance to computer graphics. Discusses the special qualities of computer graphics and how they can enrich art instruction. (MJP)

Notes the astonishing leap in capability and versatility of computers and considers their current and future use in art education. Lack of technical expertise is no longer a hindrance, as the current technology is user-friendly. Considers the computer's role in assessment, curriculum development, and research. (MJP)

Recommends asking a basic question "What am I trying to teach?" when considering the use and adaptation of computers in art classes. Suggests testing a system to ascertain possibilities, limitations, and particular characteristics. Maintains that computer art is often simply a starting point for other projects. (MJP)

Summarizes negative aspects of computer technology and problems inherent in the field of digital imaging. Considers the postmodernist response that borrowing and alteration are essential characteristics of the technology. Discusses the implications of this for education and research. (MJP)