Three conceptual frameworks for examining the cognitive response to film are reviewed. It is suggested that a phenomenological rather than atomistic conception of the film-viewer interaction will be most useful for the generation of further studies in this area. (Author/RM)

The seminar's major theme was that art education is a discipline in its own right. It was concluded that the art curriculum can be both structured and disciplined, with the goals of art instruction determined from the characteristics of the discipline rather than of children at various stages of development. (Author/RM)

The focus of discipline-based art instruction is on art within general education and within the context of aesthetic education. Four disciplines--aesthetics, studio art, art history, and art criticism--are taught by means of a formal, continuous, sequential, written curriculum across grade levels, in the same way as other subjects. (Author/RM)

An evaluation of the Aesthetic Education Curriculum Program, a curriculum reform effort to establish aesthetic education in the public schools, showed that for a curriculum reform effort to succeed, the necessary curriculum change either has to be mandated by some educational authority or established through the teacher training process.…

Art curriculum projects influenced by ideas proposed at the Penn State Seminar are described. These include the television series "Images and Things," the textbook series "Art: Meaning, Methods, and Media," the Stanford-Kettering art curriculum, CEMREL's Aesthetic Education Curriculum Program, the SWRL Elementary Art Program, and the Aesthetic Eye…

There is an abundance of available and appropriate material that might serve as content for K-12 art courses. Discussed are eight guidelines that can insure effective content selection. Some problems of using role models in aesthetic education and concepts from aesthetic theory in art teaching are also examined. (Author/RM)

A unit of study, designed for a general humanities course at the community college level, illustrates the relevance of aesthetics, art history, and art criticism to art education. The unit is predicated on the belief that the visual arts possess potential for contributing to humanistic education. (Author/RM)

Intended for persons evaluating arts education programs in which artists and museum people make presentations to school students on a regular basis, this model integrates qualitative with quantitative assessments. (Author/RM)

Formats for testing students in art production, aesthetic perception, art criticism, and art history are discussed in terms of historical precedents, underlying philosophy, reliability, and relevance to instruction. Problems in the measurement of higher-order cognitive and affective expectations of art instruction are presented. (Author/RM)

Five orientations to art education include creative development, social and cultural awareness, art history and criticism, art studio, and design and craft. Art curricula can be developed in an external mode (i.e., outside the school), a mixed mode, or in an internal mode, and can have varying degrees of prescriptiveness. (RM)

Identifying an appropriate mission for art education within the context of the new school curriculum proposed by recent national reports is discusssed. Implications for art teacher education are drawn, and a model teacher preparation program overview is presented. (Author/RM)

The dynamics of art and education are correlated with Naisbitt's ten points of social restructuring. The future art curriculum should honor the arts individually for their uniqueness and also look at them in a comprehensive manner based on today's trend towards more holistic solutions to social and economic problems. (Author/RM)

The Penn State Seminar grew out of the need for quality research in art education. Art was viewed in a broad, interdisciplinary context. The Getty Institute sought to establish visual art, defined as including art history, art criticism, studio production, and aesthetic perception, as a discipline-based subject in elementary schools. (Author/RM)

This article examines discipline-based art education (DBAE) issues for their origins, meanings, and implications. The issues are discussed within four general categories of conceptual structure, curriculum selections, research foundations, and organizational affiliations. (Author/JDH)

This article introduces H. F. Wolcott's 1982 taxonomy entitled "Styles of On-Site Research: A Guide for Students." It describes how the taxonomy may be used to improve the quality of on-site investigations in art education and includes an extensive bibliography on each of the approaches. (Author/JDH)