Bernard Stiegler diagnoses that we live in societies of control under an aesthetic conditioning. Marketing emerges as the foundational force in societies of control, adept at shaping individual desires and cultivating them into consumerism. Capturing our attention, particularly through audiovisual mediums, dictates our behaviour. In essence, the…

Reading and teaching "Don Quijote" present multiple challenges to twenty-first century students and instructors who are culturally and historically distanced from the seventeenth century. With "Las Meninas" serving as a visual lexicon for cuing correlative themes and events in "Don Quijote", the instructor, through an ekphrastic, interdisciplinary…

Painting modeling rules are constructed based on objective representing with material substances as the main body and the construction methods and orders are mostly limited to narrative viewing and expression, which, obviously, is not the best method. Logistic thinking in virtue of modeling art could gender a more "painting-like"…

According to Maxine Greene (1988), aesthetic education is "integral to the development of persons--to their cognitive, perceptual, emotional, and imaginative development" (p. 7). The purpose of this paper is to present the developing sense of self that pre-service teachers experienced through an aesthetic entry point, the 9/11 mural by…

The seventh- and eight-grade students in the author's art program sharpened up their eyesight and their use of color charts in preparation for an op art project. Op art is short for "optical patterns and designs." The goal of the project is to create and organize line and color into shapes, patterns, and design in symmetrical and asymmetrical…

Describes the three part system of human vision. Explores the anatomical arrangement of the vision system from the eyes to the brain. Traces the path of various visual signals to their interpretations by the brain. Discusses human visual perception and its implications in art and design. (CW)

Going to the movies or watching Saturday morning cartoons has become a fixture of contemporary American life, but have you ever stopped to contemplate how those "moving" images on film are conveyed to our eyes and brain? The movement that we see on film is actually a series of still images, every image separated from the next by brief spaces of…

Images express meaning through particular configurations of visual concepts. A distinguishing feature of discipline based art education is the use of visual imagery to transmit meaning to students. Discipline based art education incorporates concepts and skills from aesthetics, art criticism, art history, and art production and presents a unique…

This brief survey of successful visual literacy programs designed for students at the elementary and secondary level outlines projects to teach visual communication skills in Ohio, Indiana (Project Visual Understanding in Education/VUE), Virginia, Iowa (Media NOW), California, Canada, England, and Australia (Visual Education Curriculum Project).…

A K-12 visual arts program in Ontario, Canada, which used observational drawing to increase students' visual observation skills is described. Students had to observe and draw objects associated with intimate use, objects that were physically more distant and unfamiliar, and objects in the rural countryside. (RM)

This paper discusses and review the ideas of Hoyt L. Sherman who taught art and visual perception at the Ohio State University. It explores some of the psychological sources for his work and ideas about the teaching of drawing by seeing which relates to the work and ideas of Adelbert Ames, Jr. The article traces the influences of both Ames and…

The development of a visual literacy facility, the Creative Visual Lab, at the S. I. Newhouse School of Public Communications at Syracuse University (New York) is described. The facility was designed to provide students with the instruction that would develop their computer proficiency and visual sensitivity without being, in itself, completely…

Analyzes and compares the art education terms and concepts used to describe the visual properties of art objects to those used in computer graphics. Asserts that such paradigmatic differences exist between traditional design and computer media that a reevaluation of the shared terminology is demanded. (MJP)