The energy dynamics of creativity are the metaphysical foundations upon which the theory of holistic aesthetics was built. Traditional inquiry into creativity has been concerned with the isolated issues of either the process, technique, product, creator, or environment in which creation occurs. The aesthetics presented herein provide the art educator with an alternate approach and attitude. The absolute presupposition from which the theory develops states that "there is naught but energy, for God is life." The resulting model which incorporates the rationale of the physics of light is designed to illustrate relationships between the creator and the energies of creativity. Educational applications and significance of the model are described in terms of light and color; these practical implications lend themselves to empirical testing.
The purpose of the study was to make an assessment of Arkansas middle school/junior high art programs using National Art Education Association standards. Data were collected from questionnaires, curriculum guides, and school visitations. Participating in the study were 127 schools enrolling 53,502 students of which 14,755 (28%) were taking art classes. For comparisons, the state was divided into five regions.
The purpose of this study was to determine if there was any difference between beginning high school art students at Calhoun High School, Port Lavaca, Texas, who had had a junior high art experience and those who had no such experience in regard to their art information, art attitudes, and ability to produce quality art work. The Eisner Art Information and Art Attitude Inventories and three art performance tasks were administered to the population. Those with junior high art experience scored significantly higher on the art information inventory and art performance tasks than those without. The data support the positive effect of a junior high art experience on beginning high school art students.
The problem of this study was a content analysis of art and art-related vocabulary utilized in selected children's leisure time television viewing. Three programs (Misterogers Neighborhood, Sesame Street, and The Electric Company) were selected for the analysis. Audio tapes were made, transcribed, and analyzed for the art and artrelated words based on contextual usage. The analysis of the resulting 223-page tapescript revealed 467 art and art-related words which occurred a total of 3,668 times. The identified art and art-related words were subsequently sorted into five categories by systematically applying specific criteria. The conclusion was that television is limiting in art and art-related vocabulary as a viable language source.
In this investigation, a content analysis was made with eleven lexicographical sources and three basal reading series to determine if art and art-related words were present. The analysis was made with the use of two charts, in which each was divided into eight categories of word context. The Composite Chart contained 6,576 words found in six lexicons, five word lists and forty-two readers, and the Reader Chart contained 407 words found only in the readers. The analysis revealed: dominant categories and percentages, word and cumulative word frequencies, high and low frequency words, and the percentage of words found in the basal readers as compared to the lexicographical sources.
The problems of this investigation are the content analyses of the art vocabulary, the art-term definitions, and the art-vocabulary objectives in seven sets of visual art curricula for the elementary grades. The hypotheses are that the formulators of three or more of the sources will agree on fifty per cent or more of the art terms and their definitions and will present art-vocabulary objectives. The findings are that the formulators of three or more of the sources agree on less than fifty per cent of the art terms and their definitions. Two sources include definite art-vocabulary objectives. The conclusion is that all three hypotheses are rejected.
The introductory art history course at the university level is the focus of this study. Recognized inadequacies of the traditionally conceived course prompt the development and implementation of a new course humanistically oriented and characterized by innovative methodologies derived from encounter group processes. The course develops through formative processes of examining three deviating teaching approaches: traditional, transitional-exploratory, and alternative-innovative. The resultant format applies concepts of art history, art education,general education, and humanistic psychology to needs of art and non-art students. Course implementation reveals experiences conducive to both art and personological student self-development. The conclusion is that a new art history course was developed and merits empirical testing.
This study was concerned with the development and testing of an instrument to measure levels of aesthetic judgement making. The review of evaluation methods for aesthetic judgement resulted in a two-part instrument. The review of related literature demonstrated that the majority of instruments for aesthetic judgment employed a naive to sophisticated judgment comparison to determine levels of aesthetic sensitivity. The inadequacy of a score reporting only the degree of agreement between the subject's choice and the choice of a panel of experts without indicating the source agreement was discussed. Content analysis of aesthetic responses used in research studies by Wilson and Morris were presented as an alternative means for determining aesthetic criteria. Part one required the subject to select the better of two art works and to state the reasons for the choice. Part two, a self-scoring component, consisted of the Wilson categories presented as typical statements containing the primary criterion for the category. The subject was instructed to select the statements that were closest in meaning to his initial response.
This study examines the effects that discipline-based art education has upon reading test scores of public school second grade children. The progress in language arts of an experimental group and a control group were followed for two six week grading cycles. The experimental group was treated with DBAE instruction for one six weeks, while the control group received only studio production exercises. Both groups received no art instruction for another six weeks. Gains between mean pre-test and post-test scores indicated a significant difference for the experimental group but not the control group.
Two curricular needs exist for the elementary art classroom: multi-cultural lessons which are customized to address North Texas ethnicities, and art history materials for early grades, whether taught by art teachers or regular classroom teachers. This thesis addresses both of these concerns by developing lesson plans to meet the needs, and executing an evaluative study with North Texas art and regular classroom teachers of kindergarten and first grade. The teachers represent four districts, including rural, suburban, and urban demographic populations. Findings address time limitations for public school teachers, cultural exchange differences between demographic groups, and differences between presentation of the units by regular classroom teachers versus art teachers.
For three years the writer has worked with children from a section in Mineral Wells, Texas, in which home environments were unnecessarily bad. They offered none of the wholesome stimuli for growth and development that homes should give. The houses were drab and cheerless, and the grounds were neglected, often grown up in weeds or cluttered with trash. Through its members, made up of sixth and seventh grade children of Travis Elementary School and including children from the affected homes, plans and procedures were formulated for improving homes, and the interest and cooperation of the parents were secured in extending the improvements over the area. By this plan the writer hoped that life might be made more satisfying for these people as a result of improved surroundings.
The purpose of this study was to determine and investigate -the criteria used to identify artistically gifted children and attempt to determine their validity. Sources of data included interviews with art teachers, interviews with children in combination with observations, and observations of characteristics cited in the literature. With one exception, the criteria which these art teachers used to identify artistically gifted children correlate with criteria found in the literature. There appeared to be, however, some characteristics with which these art teachers were not familiar. One characteristic found in the literature was neither listed by these art teachers nor observed by the investigator. Results indicated that these art teachers may value different types of characteristics than the experts.
The purpose of this investigation was to observe the effect of supplemental art activities on classroom management. Supplemental art activities are assignments designed to replace "busy work" with meaningful, interesting learning projects for students. The supplemental activities allowed students who completed their regular work to direct free time to developing appropriate work habits and creative thinking. The investigation showed that additional prepared learning activities help to reduce classroom discipline problems. Students were required to continue the normal learning routine without surpassing the slower members of the class. Planned activities did not solve all classroom problems but did serve to educationally involve the faster students.
The general purpose of this investigation is to examine the values of print making as compared with drawing and painting in their respective relationships as a part of the junior-high-school art program. The specific purposes of the investigation are: 1. To determine the values which are common to both the print-making arts and the drawing-painting arts. 2. To discover the values which are unique in the print-making arts. 3. To determine which of the print-making processes belong in the junior high school. 4. To recommend the grade placement and limitations of print-making for the junior high school. A conservative general conclusion, based upon objective evidence, can safely be drawn to the effect that in all phases of the learning experiences print making was found to be as valuable as painting and drawing. Its values were compared with respect to specific art development, to general educational growth, to socialization, and to character training.
The purpose of this study was to examine the status and the content of the middle/junior high school art- programs in Texas. A questionnaire designed to elicit information concerning the art program was sent to middle/junior high school art teachers in Texas. The responses were analyzed according to the school district size, the grades comprising the school, and the school enrollment using simple descriptive statistics. This study revealed the following areas concerning the typical middle/junior high school art program in Texas: school district size, school enrollment, art enrollment, grades in school, types of art courses, teaching objectives and approaches, art budget, resource materials, and art equipment.
The purpose of the study was to determine a definitive description of "artistic giftedness." A questionnaire was sent to Texas art teachers to find what characteristics they attribute to the artistically gifted, how they determine this, and what program goals they set. The wide variety of survey responses indicates the diversity of artistically gifted individuals. The high rating on all items indicates that all could be used as identifiers (higher rated characteristics identifying a larger population, lower rated ones, a smaller population). Responses to items dealing with identification indicate nontest methods to be most widely used. No connection was found between goals chosen and either characteristics or methods.
The art of making pottery has long been recognized as a valuable educational activity, both for its cultural value and for the opportunity it presents for creative activity. However, the impression is prevalent among school teachers and administrators that the making of pottery requires the purchase of raw material as well as an expensive kiln. For this reason few schools have given pottery making a place in school activities. Experiments with Texas clays have shown conclusively that pottery making is a comparatively simple and inexpensive undertaking. The purpose of this study is to present and evaluate these experiments so that other Texas teachers may utilize them in their work, especially in the elementary art classes of the public schools.
The purpose of this study is to determine the suitability of five clays from the vicinity of Denton, Texas for use in high-school ceramics classes. The abundance of natural clays in Denton County and throughout the state of Texas, the ease with which clays may be obtained, and the ease with which they may be refined for use provide almost unlimited teaching possibilities in high-school art classes. This study of five Denton County clays has proved informative in several respects. It has shown that within the vicinity of Denton there are clays that are suitable for high-school use. Although all these clays may be suitable for one technique of pottery making each may not be suitable for all techniques. Many clays may be used after refining by a simple, quick process without the use of expensive and complicated equipment. Simple glazes, which have an aesthetic as well as a utilitarian value, may be compounded to fit these clays.
Plates of ceramic samples to accompany a thesis studying the suitability of five clays from the vicinity of Denton, Texas for use in high-school ceramics classes. The abundance of natural clays in Denton County and throughout the state of Texas, the ease with which clays may be obtained, and the ease with which they may be refined for use provide almost unlimited teaching possibilities in high-school art classes. This study of five Denton County clays has proved informative in several respects. It has shown that within the vicinity of Denton there are clays that are suitable for high-school use. Although all these clays may be suitable for one technique of pottery making each may not be suitable for all techniques. Many clays may be used after refining by a simple, quick process without the use of expensive and complicated equipment. Simple glazes, which have an aesthetic as well as a utilitarian value, may be compounded to fit these clays.
This study seeks to explore relationships between Logo turtle graphics and visual literacy by addressing two related questions: (a) can traditional visual literacy concepts, as found in the published literature, be synthesized in terms of Logo turtle graphics, and (b) do the literature and "hands-on" experience with turtle graphics indicate that visual competencies are pertinent to graphics-based electronic communications in computer culture? The findings of this research illustrate that Logo turtle graphics is a self-contained model to teach visual literacy skills pertinent to computer culture. This model is drawn from synthesizing published literature and the classroom experience of Logo learners, which is demonstrated through their visual solutions to Logo assignments. A visual analysis and interpretation of the subjects' work concludes that the principles and competencies associated with traditional visual literacy skills manifest during the Logo turtle graphics experience. The subjects of this study demonstrate that visual literacy pertinent to computer culture includes reading, writing, and drawing alphanumerics and pictographic information with linguistic equivalence. The logic for this symbolic metaphor is body-syntonic spatial experience explained in geometric terms. The Logo learner employs computational models for visual ideas and visual-verbal symbols for spatial ideas in the course of doing turtle graphics.
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