Art has always existed in a dialogic relationship with the history of science. Both art and technology share the Greek root techne that evinces a mode of production involving skill and knowledge, a kind of hands-on problem-solving. The emerging field of “new media” or “digital arts” has become a pressing topic for artists and art historians alike in recent years, but this discourse—the statements surrounding digital art practice and the artifacts that result—is anything but novel. Techno-scientific events are already represented in language and images that predate them. New media involves the use of digital technologies and tools of mass communication, including virtual and interactive forms of art. The problem that arises when art students remain disconnected from this history is that they use these new tools without fully understanding them and thus make art without understanding the pre-existing discourse that their works enter into. Digital media pedagogy lacks any standard structure among more accessible universities, contributing to a problematic disconnect between studio and art history courses. My research addresses this pedagogical gap by analyzing the ways in which new media reframes longstanding art historical discourse. As a result, I have created the syllabus for a new media art history seminar and studio hybrid course at the undergraduate university level. The proposed course investigates themes of art and technology, authorship and appropriation, automation, the desire for mimesis, and the relationship between digital media and non-digital fine arts. This inquiry demands a theoretical and pedagogical approach that avoids absurdism about the “end of art,” particularly in the face of contentious new media discourse such as the emergence of AI art. This approach reveals a transformation of the intimate relationship between art and science rather than a simple rivalry or novelty.