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.

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.

The problem of investigating the adaptability of plant fibers for basketry was two-fold. The first part was the selection and preparation of the plants. Suitable collection time, drying methods, and processing and soaking procedures were determined through a series of experiments, performed during each season of the year. In the second part experimental samples were woven by using the basic basketry techniques to illustrate the usability and versatility of each plant fiber. The survey of forty plants proved that there are readily available plants suitable for basketry. The simplicity of the process, the ready availability of plants, the nominal cost of supplies, and the variety of visual elements obtainable were advantages realized from this investigation.

This study is concerned with providing a strategy for teaching basic art concepts of line and shape at sixth grade level to the disadvantaged child through the use of kits as a supplement to classrooms instruction. Twelve kits were devised. The materials and information necessary to do the assignment were included in each kit. They were tested by disadvantaged sixth graders in a Dallas school for one month. The kits were evaluated using the children's work as compared to control assignments, as well as behavior checklists and frequency of uise counts. The game kits were particularly effective. Kits proved to be a viable strategy for enriching the art curriculum for disadvantaged children and improving classroom discipline.

The purpose of this paper is to compare a group of adolescents with the learning disorder of dyslexia and a group of adolescents without dyslexia in regard to their ability to make realistic drawings. Subjects selected for the study were from a suburban junior high school in which a random sample was taken of both dyslexic and non-dyslexic students. Each was given three standardized drawing tasks, including a still-life drawing, a contour drawing, and a perspective drawing. The drawings were judged by five evaluators on a continuum of realistic to non-realistic. The ratings were then analyzed by the application of the Mann-Whitney U-Test, which indicated that there are no significant differences in the abilities of the two groups to render drawings realistically.

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 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.

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.

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.