In this case study a secondary school and its art education is studied. Pupils and the art teacher are interviewed and observations are made in school and out of school. The study is based on socio-cultural theory, media ecology and semiotics. In this school manual and digital media each share about 50 percent of the time available for art. It is shown that it is the teaching method -the change from a dialogic to a multivoiced method -that enables the embedded use of digital media. Arguments for digital media in art are that they are time-saving, promote aesthetic aspects and will put an end to the process of traditional education where the teacher is reduced to being a conveyor of information. The computer lab is no option for an embedded art education. On monitors and in exhibitions pupils are surrounded by other pupils´ works, which promotes a desire among them to improve their creativity, and a local art culture is developed in a cumulative process.

This article is included in a research project called Skolä mnesparadigm och undervisningspraktik i skä rmkulturen Á bild, musik och svenska [''School subject paradigm and teaching practice in the screen culture Á art, music and Swedish'']. Due to digital changes in the media world of pictures and art, digital media are implemented in the Swedish school subject ''bild'', art in Englishspeaking countries, in secondary school. The school subject bild is seen as conforming to a school subject paradigm. It is supposed to meet another paradigm, ICT and digital media, with its values and expectancies. What happens if a traditional art subject paradigm, with the idea of the relevance of manual expression of self and of traditional techniques, meets digital media? Four different approaches to the implementation of digital media in the subject of art are discussed: resistance, add-on, embeddedness and digital media as dominant. The main focus is what is happening to the core of the subject, called the sacred, and what really is the core and sacred of the subject. Also discussed is what we call the profane of the subject, which may be expelled, and the relationship between the sacred and profane. Is digitalisation the future of the art subject or is it a way of leaving the art subject the way we are used to thinking of it? We are using empirical studies in nine schools in Sweden, including observations and interviews with pupils, art teachers and school administrators, that are accounted for in other articles.

There are great expectations that new digital technology will become a powerful tool for developing education activities. Like many countries in Europe and worldwide, Sweden has invested a large amount of resources in new technology and new media (hereafter called digital media), and they have become a natural and important part of school teaching. The developed use of digital media is assumed to lead to educational change and, hence, better teaching. That such expectations have not been fulfilled, however, is shown in a number of Swedish, European and international studies. One explanation of this situation may be that the incorporation of digital media differs between different school subjects. School subjects have their characteristic structures, which are of great importance for how digital media can be integrated. Digital media influence the way in which school subjects can be described from a knowledge theory perspective -i.e. what constitutes the subject's paradigm and its teaching practice. The point of departure of this article is the school subjects of art, music and the mother tongue (Swedish), which, like other school subjects, are feeling the pressure of a digital media and screen culture to an ever increasing degree, and it queries whether and how teachers and pupils in these three school subjects conceive of and relate to the shifts that take place in the subjects when digital media are being increasingly integrated into the teaching. The study is based on interviews with pupils and teachers in the three school subjects, and the results are presented in terms of four themes that appear in the investigation -namely: (1) educational environments; (2) what teachers and pupils regard as the sacred and the profane; (3) motives for using digital media in teaching; and (4) whether and how working methods are changing with digital technology, i.e. questions concerning collective and individual aspects. In all three subjects, there are clear indications that digital media have already started to influence both the subject content and the working methods, while, at the same time, the proportion of digital media is limited and the impact is weak.

Four schools’ environments have been selected where paraphrases in art is a common denominator as a choice during secondary school. In this study, comparisons are made between digitally produced paraphrases, hand made paraphrases and blended production. The purpose is to shed some light on how the attitudes towards appropriations can be related to different media-specific tools. Theories about quotations in art are used to commenting on student´s work when paraphrasing by means of digital and/or manual techniques. The concluding remarks are that digital paraphrases of theme dominates, using quite simple juxtapositions, but still with interesting implications. Different ways of working with pictures digitally exposes multimodal ways for pupils to appropriating picture-making for their own purposes.

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