Computer Graphics and Art Education

The Electronic Paintbrush: Computer Graphics and Art Education by Flemming Msller Larsen B.Sc., University of British Columbia, 1969 Certificate, Teaching, University of British Columbia, 1974 Master of Arts (Education), Simon Fraser University, 1990 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Faculty of Education 0Flemming Msller Larsen SIMON FRASER UNIVERSITY July 27, 1994 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Flemming Moller Larsen Degree: Doctor of Philosophy Title of Thesis: The Electronic Paintbrush: Computer Graphics and Art Education Examining Committee: Chair: Michael Manley-Casimir Stuart Richmond Associate Professor Senior Supervisor Sharon Bailin Associate Professor Anna Kindler Assistant Professor Faculty of Education University of British Columbia Allan MacKinnon Assistant Professor InternalIExternal Examiner Rita Irwin1 Assistant Professor Faculty of Education University of British Columbia External Examiner PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. Title of Thesis/Project/Extended Essay The Electronic Paintbrush: Computer Graphics and Art Education Author: ,- - ' (Signature) Abstract The overall thesis problem is to determine the major implications of using commercial computer graphics in Western secondary art programs. It is a conceptual study that uses conceptual frameworks established by authors from a variety of fields to show how Western culture has come to hold its views of art, technology, and education; a conceptual study that answers the thesis questions by reviewing the research on computer graphics in education and pertinent writings from the fields of art, art education, computer graphics development, and technology. Based on a critical review of major authors in these domains of knowledge and an emerging body of literature directly related to computer graphics in education, the thesis explains how digitized images function as art objects and shows how computer graphics can be compared to traditional art media in order to define its unique aesthetic, artistic, and cultural influences. The thesis argues that this technology should not be viewed as a neutral medium or tool in school art rooms but, rather, as a uniquely biased, educationally significant mediator of the way students come to understand and evaluate art. Therefore, art teachers should be reflective practitioners who are aware of the technological bias and cultural forces at work in art rooms where computer graphics come to draw time and funding away from traditional art experiences. Computer graphics should not be dismissed as a marginal tool while, at the same time, an increasing use of computer graphics should not suddenly or uncritically come to dictate the nature of art education. Aesthetic activity is not a mode of behaviour that should be separate from normal life, nor an adornment. It should be an intrinsic and unifying aspect of all experience but it needs to be cultivated through an adequate and appropriate education. (Sam Black, 1984, p. 23) Acknowledgments First, I would like to thank Sharon Bailin, Anna Kindler, and Stuart Richmond for their many suggestions and careful readings of earlier versions of the thesis. I owe a special debt to Stuart for the many educational opportunities he provided during the time we worked together; his continued support has been greatly appreciated. I also want to acknowledge my appreciation for the many opportunities to interact with faculty and peers at Simon Fraser University. These discussions provoked many of the insights offered in the thesis and I especially wish to mention the help I received in courses taught by Robin Barrow, Roland Case, Kieran Egan, and Marvin Wideen. I would also like to express my gratitude to Harvey Nagel and Allan Tanchak, my co-workers at the University. Their constant tacit support and their frequent overt encouragement were very helpful. Allan's consistent professionalism allowed me the peace of mind that was necessary during the effort devoted to academic work. Lastly, it is difficult to acknowledge adequately the part played by my family through their support and assistance while the thesis was being written. They shared in and enhanced the enjoyment when the research progressed easily and provided support during many long hours when the writing dragged on without apparent progress. Contents Approval ..................................................................................... ii Abstract ..................................................................................... iii Acknowledgments ................................................................... v Preface ..................................................................................... vii Introduction .......................................................... 1 1 . Computer Graphics and Art Education ..... 4 Definitions and Limitations ............................ t35 Objectives and Problems ........................................ 15 2 . Computer Art .............................................. 26 Computer Graphics ........................................ 27 The "Art" in Computer Art- ............................ 48 '' Digitization as Progress ................................... 68 3 . An Electronic Paintbrush ...................... 79 Experiencing the Art Image ........................... 86 The Influence of Technology ........................... 102~' Computer Graphics Characteristics ............. 123 4 . Educational Implications ...................... 149 The "Education" in Art Education ................ 1501 Gains and Losses ........................................ 1641 The Alternatives ........................................ 180 Concluding Remarks .................................. 191 Footnotes ............................................................................ 198 Appendix: Computer Graphics ........................................ 201 Extended Bibliography .................................................... 221 Preface I first discovered computer generated imagery as a student and I quickly recognized that there would be implications for art-making. My interest then and now is a fascination with the potential of the new technology and a persistent, vague disappointment with what I see in schools. The lack of quality in much early "computer art" was obvious in the sense that the imagery was often trite or superficial. In my opinion, this is still the case although newer, more powerful microcomputers and sophisticated software are now available. When I first entered the graduate program I intended to study the contradiction between the computer's potential for art-making and the disappointing results but decided to explore the underlying questions about art education, art-making, and aesthetics first. It turned out to be a fortunate delay. Issues related to the use of computer graphics in the curriculum are now far more important as an increasing number of computers enter the school art rooms. Also, while computer graphics technology developed rapidly as a field of study, new technological developments have become increasingly predictable. This combination of events allows a more meaningful analysis of computer graphics that shows how it is likely to influence art education during the next decade. - vii - Introdu More than any other art medium, graphic design is the true expression of our age of exploding information and instant communication. Characteristic of our use-it-once-throw-it-away culture, most graphic design, while it may be reproduced in vast quantities, is remarkably short lived. (McIlhany, 1970. p. 96) Computers are changing the world we live in, and will continue to do so. They have already altered the image-making process, and will almost certainly affect the way we teach art. The attitudes teachers take toward computers now will help determine how well our students put them to use later. (Greh, 1990. p. xi) Let us first agree that most 'computer art' is old-fashioned, boring, meretricious nonsense; and then that- most of it is done by people whose knowledge of contemporary art and its problems is more or less zero; and then that most of this 'art' is actually a demonstration of the power of a few companies' graphics systems; then'that most of the 'art' is really graphic design, produced for graphic design-like (and not art-like) reasons; and finally that there is a sort of 'mafia' of people who produce, teach, write about, judge at competitions and generally celebrate and curate this 'art'. (B.R. Smith, 1989. p. 39) The thesis statement is: computer graphics, as a subject of study, should be included in the school art curriculum because this provides opportunities for unique, worthwhile art experiences and, at the same time, allows students

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