This article outlines an exploration into the development of visual perception through analysing the process of taking photographs of the mundane as small-scale research. A preoccupation with social construction of the visual lies at the heart of the investigation by correlating the perceptive process to Mitchell's (2002) counter thesis for visual…

Using works of art with young children is a perfect way to bridge the gap between art activities that are too open or too closed. Teachers of young children sometimes try to find a middle ground by allowing free painting time at an easel in addition to recipe-oriented activities such as putting together precut shapes to create a spider or an apple…

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…

In the artistic process the artist verifies and exemplifies his or her perceptions and conception of their work. This paper discusses the model of the artistic process which describes the repertoire of perceptual clues that the artist develops. The rationale for the development of the model is for the art teacher to be able to explain in simple…

This article takes a brief walk through two complex cultures, looking at similarities and differences between them. Visual perception is vital to both art and science, for to see is to understand. The article compares how education in each subject fosters visualization and creative thinking.

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…

States that by considering necks in a literal sense it may be possible to envision new metaphors for understanding minds, bodies, and ways of knowing. Discusses necks as important signs for such ideas as beauty or fragility. Focuses on views of epistemology, such as the disembodied way of knowing. (CMK)

States that isolation of small portions of life can result in revelation, the power of metaphor occurs when connections are viewed and meaning is derived from the whole, and at times the question of meaning has been translated into a search for order. (CMK)

Focuses on Carolee Schneeman, one of many artists, dancers, and musicians who combine visual art media and methods with dance, poetry, and music. Explains that Schneeman focuses on the body as object and subject and discusses some of her performances. (CMK)

In an effort to make freehand drawing instruction more easily transferred to architectural design, a series of exercises was developed based on touch, movement, and vision. The intent is for students to mimic and develop empathy with the items they are drawing. Examples and illustrations are provided. (MSE)

Focuses on the author's "semiotic self" by presenting questions and reflections. Discusses the overlapping groups to which one's multiple "selves" belong. Explains that these groups consist of people who share vocabulary, rituals, and understandings. (CMK)

Research tells us we can learn complex tasks most easily if they are taught in "small sequential steps." This column is about the small sequential steps that unlocked the powers of digital photography, of portraiture, and of student creativity. The strategies and ideas described in this article came as a result of working with…

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…

Introduces a collection of short papers that focus on the body, visual culture, and semiotic awareness. States that the papers ask how do we know what we know, through what filters do we understand, and what codes are used to make sense of the world? (CMK)

States that teachers must "face" themselves in order to encourage experimentation with practices that evoke embodied experiences. Discusses "facing yourself," the process of knowing who you are, who you are not, and allowing for the self-transformation that should follow. (CMK)