Discusses the nature of light and its relationship to color, particularly two models of color production: the additive and subtractive models. Explains the importance of these models for understanding how computers and printers generate colors. Argues that it is important to understand these processes given the prevalence of computers in art. (DSK)

An overview of ways the microcomputer can be incorporated in existing art curricula is provided. Emphasized are the use of the microcomputer as part of studio art activities and the study of microcomputer art. A bibliography of software references is provided. (RM)

Summarizes the conclusions reached by art educators who discussed the kinds of computer knowledge and skills required by preservice teachers. Identifies two categories: fine arts (visual expression, graphic design, and aesthetics) and art education (knowledge about hardware and software, applications, management, and interdisciplinary…

Relates the story of the creation of an exploratory art technology class at Hadley Junior High School (Illinois) and its development over the past decade. Describes the equipment required to conduct the course, resources available for teachers creating similar courses, and student projects. Suggests ways to make the course multidisciplinary. (DSK)

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)

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)

Asks how art should be taught in a culture in which television and electronic media constitute the primary media with which young people interact. Suggests that art educators should focus on how students use technology, the production and viewing of technological images, and the ways that such images have meaning. (DSK)

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)