The Evolution and Processes of a Multidiscipline-based Art Education Prototype in Visual Technology

"This thesis examines two aspects of technology relating to art education. The study begins with a survey of major technological discoveries which have been explored or developed by artists. Included in this chronology are the areas of architecture, astronomy, drawing and graphics, painting, sculpture, and photography. This survey provides historical grounding to assist the art educator 1n developing an awareness and understanding of the generic problems of applied technology. The second aspect of this thesis explores technology as a metamedium for use within art education Including suggested Imple­ mentation procedures. The model developed in this research is a graphic representation of visual technology as a comprehensive medium with potential applications to encompass both studio art and art criticism—thus, the term ""metamedium."" The categories of studio art and art criticism are correlated with those of Manuel Barkan and Laura Chapman 1n their research for television use In art educatlon- Leamlng to Make Art and Learning to See and Understand Art. The basic Image approach to art education developed by Edmund Burke Feldman 1n 1979 has been combined In this thesis with the reciprocating form/content philosophy of Rudolf Arnhelm to build a structural base. Feldman's syntax and Arnhem beliefs are viewed In conjunction with multidisciplinary-based art education, which Is individualized curriculum planning to Include alternatives which address both the properties of aesthetics (sensory, formal, expressive, technical) and the shaping of visual form. Based upon the author's perceptions resulting from pilot studies, experience, and the review of the literature, this study 1s needed to provide an Infrastructure for art educators to explore further the use of visual technology. Hardware equipment has an extended life expectancy; therefore, curriculum development needs to be flexible to accommodate modification and evolution. Progress has been made 1n the technical literacy of educators; however, the progress Is dwarfed by the unprecedented rate of accelerated growth within the technology and the overwhelming number of resulting new possibilities. The historical grounding and model presented within this thesis provide a base of operations from which art educators can proceed.