1. Competently use word processing spell and grammar checks, scanners, slide copy stands, 35mm and digital cameras, video cameras and mics, video editing, Internet, email, listservs, threaded discussions and the following software: PhotoShop (for image creation & manipulation), PowerPoint (for presentations), QuarkXpress(for graphic design), HyperStudio (for an active learning pedagogical approach), DreamWeaver(for web site creation), Excel (for tracking grades).

2. Discuss the way technology changes the way art is produced, disseminated, and valued.

3. Understand how new art forms grow from new tools for representation.

4. Utilize and explain new conditions for communication using the Internet.

5. Describe the relationship between technology development and aesthetic change.

1. History of computer art & artist use of computers

2. Instructional technologies

3. Exemplar programs using computers in art education

4. Technology & culture: Exploration of the social, political, and aesthetic implications of computer use in art and art education

5. Adaptive technologies for art making for differently-abled populations.

1. What are the underlying "rules" operating in the computer program? (These are invisible until consciously articulated.) In other words, examine the selection of images and modes of presentation to articulate the aesthetic conventions and world views in use.

2. Do instructional presentations have roots in traditional Euro-American fine arts considerations (such as harmony, symmetry, and balance)?

3. Does interactivity require new aesthetic criteria?

4. What effects does electronic instruction have on learning?

5. Look at the form and content of information for beliefs about the nature of knowledge. Example: "Objectivity, depersonalization, and standardization are implied ideals for knowledge in typographic culture" (Jones, 1991a, p. 153). Typography legitimated knowledge through standardization of form.

6. Are there boundaries between disciplines, maker/consumer, author/reader, artist/viewer, or public/private? How does technology affect these dichotomies?

Barrett, E. (Ed.). (1992). Sociomedia: Multimedia, hypermedia, and the social construction of knowledge. Cambridge: The MIT Press.

Bender, G. & Druckrey, T. (Eds.). (1994). Culture on the brink: Ideologies of technology. Seattle: Bay Press.

Duckey, T. (Eds.). (1994). Electronic cultures: Technology and visual representation. Denville, NJ: Aperture Foundation Inc.

Goodman, C. (1987). Digital visions: computers and art. New York: Harry N. Abrams.

Hyerle, D. (1996). Visual tools for constructing knowledge. Alexandria, VA: Association for Supervision and Curriculum Development.

Landou, G. P. (1992). Hypertext: The convergence of contemporary critical theory and technology. Baltimore: The John Hopkins University Press.

Leeson, L. H. (ed.) (1996). Clicking in: Hot links to a digital culture. Seattle. Bay Press.

Lovejoy, M. (1997). Postmodern currents: Art and artists in the age of elctronic media (2nd ed.). Upper Saddle River, NJ: Prentice Hall.

Includes use of all equipment in the lab except for the HP large format printer and the Epson large format printers. The fees will be used to cover the costs of consumable supplies, equipment purchased for use in classroom demonstrations, service contracts for maintenance of instructional equipment, wages for student assistants, salaries for departmental staff who are involved in the preparation and distribution of classroom materials, TA's who are not the instructor of record, and reference materials if they are available in the classroom, VRC, or used to make copies for distribution to students.

Attendance is required and very important to enable your completion of the projects. Absences will impact your grade. Three absences result in a letter grade reduction. Each additional 2 absences will further reduce the course grade by another letter. Three times late or leaving early will constitute one absence. If you need to be excused from class for religious reasons or due to TTU sponsored activities, please provide a written note prior to the absence and make up the work.

I encourage you to attend professional conferences in your field, therefore your absence in class for such attendance is excused with prior arrangements.

TTU's policy concerning academic integrity states that for "students to present as their own any work which they have not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possible suspension." See the section on "Academic Conduct" in the Code of Student Conduct for details on cheating and plagiarism. Plagiarism is the use of more than three consecutive words or ideas of another author without proper citation. Proper citation formats must follow one of the academic writing style manuals such as APA, Chicago, or Turabian. All images and text from the Internet, journals, or books must have full citation to be used in your work. See School of Art Policies and Information on Artistic & Academic Responsibility, Protection & Freedom: Includes citation manual links & public domain links.

If you have alternate abilities which require alternate arrangements for you to meet course requirements, please contact me (Americans with Disabilities Act, 26 July 1990).

Every effort will be made to comply with the intent of state laws or acts and the University Health and Safety Program in an effort to maintain a safe academic and working environment. Information and awareness of safety factors will be included in the course content when applicable. Know before an emergency happens if your insurance requires you to use a specific hospital's emergency room. The campus emergency number is 9911. Emergency call boxes are in the Art Building basement by the restrooms, and in the sub-basement near the woodshop and the photo area. Another is located on the fifth floor of the Architecture Building. Flashing lights and an alarm inside a building mean fire. Exit quickly. An outside alarm is a tornado warning. Go to the sub-basement, not outside. For safety reasons, children, pets, and bikes are not allowed in labs. Rollerblades and skateboards are not allowed in buildings. When assisting a person who is bleeding, use disposable gloves which are in the first aid kits in the labs. All accidents must be reported to Safety Coordinator, Robert Terrell. Solvents go in the cans in the art building painting lab room 103 never in 201 sinks or the ground. There is a big yellow flammable cabinet in 103 for disposal of solvents. Clean clay boards and tools while clay is wet. When working with dry powders (e.g., plaster, clay, paints) avoid breathing dust by wearing a gauze mask.