As technology rapidly invades more as pects of human life and culture than ever before, our ideas of art, art making, and art education are continually questioned. Theories of visual culture in art education (Duncum, 2002; Freed man, 2003) challenge art educators to include images and objects from everyday life such as television, the World Wide Web, video games, cartoons, theme parks, and malls as foci for exploring the social and political implications of our visual world. The visual art world itself has become a extravaganza of interac tive exhibitive space, collaborative art making, pastiches of old and new, performances, and new media that fuse light, sound, and kinetics. Although new to many practicing artists and art teachers, the rapid, fast-paced way of digitally seeing is routine for contemporary digital kids (Jukes, 2005) who are not amazed by the cur rent or latest advances in technology. And yet they, as well as we, are a part of what Daniel Pink (2005) calls a change in hands of the king dom from those who could crank code, craft contracts, and crunch numbers to those known as creators, empathizers, pattern recognizers, and meaning makers (p. 1).
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