For the forty-fourth time, the Association for Educational Communications and Technology (AECT) is sponsoring the publication of these Proceedings. Papers published in this volume were presented online and onsite during the annual AECT Convention. Volume 1 contains papers dealing primarily with research and development topics. Papers dealing with…

Art is visual literacy, some would say more basic than writing and speaking, because it is not hampered by the barrier of language. The process of creating a visual narrative and understanding visual literacy is multi-faceted. Because similar cognitive strategies are used in the practice of both visual and written literacy, incorporation of…

In this article, the author has advanced the view that the world is currently on the threshold of a new status quo--the hegemony of the image. Yet, this seems a mixed blessing, for people, and especially young people, are not equipped with the necessary critical viewing and thinking skills to survive it. Nevertheless, this unfortunate situation…

This digest explains the concept of visual literacy in science and provides a guide to resources for further study. The case is made that the capacities to both understand and generate technical pictures are fundamental to scientific and technological literacy for students at many levels, from early elementary school to the university level.…

Contemporary culture has become increasingly dependent on the visual, especially for its capacity to communicate instantly and universally. Advances in technology fueled this shift. Students must learn to cope with and intelligently contribute to a culture rife with easy access to the visually rich Web, photo dependant social networks, video…

Identifies two lines of development in art education which require immediate attention if increased media utilization and effective production and consumption of media programs are to become a reality by the year 2000. (Author)

Beardsley's explanation of how works of art have the capacity to give an aesthetic character to human experience provides a justification for art education in the schools. His major work, "Aesthetics," and subsequent writings that have a bearing on art education are discussed. (Author/RM)

Maintains that museum learning should be an integral part of all school art programs and should not be treated as an enrichment, a supplement, or mere resource for the classroom-based art program. Describes the programs of 35 United States art museums which go beyond the standard "walk-and-gawk" tours of the past. (JDH)

The primary function of museums is to help museum visitors appreciate and understand what they see. Specific means and methods are suggested, e.g., informative and suggestive labels and a sales desk where the visitor can purchase reminders of what he or she has seen. (RM)

Analyzes the persuasive techniques of advertisements and suggests strategies to promote students' critical reading of these ads. (MM)

Provides the first installment of a two-part article about television: how it affects us, what it says about our lives, and how we can make it work better. (KS)

Aesthetic perception must be taught if we expect students to use it. Within a given society, the creators and viewers of art are socialized to more or less agreed upon aesthetic codes and conventions. (Author/RM)

Presents a model for systematizing the relationships between core content and educational objectives in British art and design classes. The model shows how the expressive, perceptual, analytic and cultural domains of art and design education are interrelated. Available from Carfax Publishing Company, P.O. Box 25, Abingdon, Oxfordshire OX14 1RW…

This guide accompanies "Special Effects," a 40-minute IMAX film and "Special Effects II", a multimedia, interactive traveling exhibit designed by the California Museum of Science and Industry. The exhibit focuses on the underlying scientific and technical processes of special effects from the earliest motion picture to state-of-the-art digital…

There is no natural or genetically determined talent for aesthetic appreciation, but at most a widely distributed capacity that, fortified by interest, can be developed. The aesthetic experience should be cultivated but for its own sake. (RM)