Through Aaron Koblin's demonstration(Creating art with data: Aaron Koblin at TEDx Amazonia), I discovered that there are no limits to human creativity and that this ability is already uniting the world. Above all, through this, I researched voice drawing and the technology presented by Koblin. Even now, technology is advancing at a breakneck pace without us knowing. Now is the time for robots to read fairy tales to children and draw them when they order what they want to see. I was surprised that these robots were being sold on Amazon. Then, how should artists and art teachers survive? Now people won't go to school to learn some drawing skills. In fact, there are more details on YouTube. And artificial intelligence is advancing amazingly. They are even far superior to humans in moral terms. It's a significant conversation when a user is kicked out of a chat room by A.I. for making a sexual joke. For example, there is a very famous Go master in Korea. Baduk is like Eastern chess. After winning a confrontation with artificial intelligence, he recently declared a complete retirement. He left these words as he retired. "Now I know that Go is no longer an art, so I quit." I feel the same way. I feel afraid in this technical environment. Technology is now threatening art. How are we supposed to survive in times like these? Like Aaron Koblin, do we have to learn computers and develop a defragmentation program right now?

 But I was able to find the answer by reading the article,
Art for life; Authentic Instruction in Art by Tom Anderson'. That's the fundamental answer: creativity. Inside the journal, I noticed the sentence below.

 "Creativity is a messy, open-ended business.
Art is a model of life, and our life itself is art. Learning to respond well to art, to our lives, is at the heart of arts education."

 Think about it. In the age of artificial intelligence, which is technically, morally, and empirically perfect, art teachers may simply become babysitters looking after children. Or like a coach or counselor to help you draw during that time? I do not see this role as the role of an art teacher or a gatekeeper pointed out in the thesis. I found the answer by confirming that we are beings with spiritual, mental, and social values as human beings living our lives. This coincides with the idea that creativity connects the world and the individual, as pointed out in the text. The technology looks perfect, but it has loopholes. That is, they have no soul. Their creativity is just putting all the historical data together and mimicking it. We must be aware of that, pick up the brush and use the palette as a shield to become art warriors in a world where technology destroys art. To protect and win against A.I., the artistic spirit and creativity must be internalized as the answer presented in the text. In other words, just as life and art are, the teacher must become one with art. When we recognize this and confront the world with a sense of mission, we can protect ourselves and our children from the materialistic world.

 To do so, we must first take on the role of an art teacher as a block destroyer who removes blocks that hinder creativity against the fear of making a mistake, fear of being embarrassed, fear of standing out in a group, fear of criticism, fear of being attacked by conservative forces, etc. We must remove these blocks one by one in front of the children.

 And the art teacher, as Koblin said during the demonstration, has to be the one asking the question, just as one of the many fragments asked, "Why are you doing this?" It is not a person who conforms and is trapped in the system, but if the system is running wrong, we should be able to raise our objection to improving the educational system.

  Finally, art teachers must practice their art every day, whether through journaling, sketchbooks, or portfolios. It becomes a ritual if you practice a simple habit repeatedly and meaningfully. An art teacher should do the work of making this kind of art consciousness in life.

  These things are an alternative to survive as artists in a world where technology threatens art, reveal our presence that art is significant to them, and protect children as art teachers. And the effort to find such troubles and methods should be continued. 

- Metaphor is an important creative trait. 

Creativity connects individuals to the world.
Helps you understand concepts, ideas, and emotions. Creativity is what helps to gain insight into the overall life of an individual through this understanding.

Creativity is defined socially
Ex: Csikszentmihalyi (1996) said, “In the interaction between a person’s thoughts and sociocultural context.”
Creativity is fostered through cross-cultural, inter-generational and multifaceted data. In other words, the more perspectives you have, the more creative you become.

A comprehensive model of arts education that focuses on art for life is valuable in various fields, such as a means of fostering creativity, art history, criticism, aesthetic inquiry, and art.

  Csikszentmihalyi defines art as being formalized and embedded within larger social rules and procedures that he calls culture.

In other words, teachers are gatekeepers (eg curators, administrators, critics, artists, aestheticians) who decide whether a particular action or idea is creative, and our domain is art.

Creativity occurs when you use learned symbols and procedures in the realm of art to come up with new ideas or see new patterns that are approved by your significant other.

Creative people have a variety of reactions, needs, analysis, new alternatives, attitudes, critical perspectives, and a spirit of reform that does not follow the rules, so teachers in schools are confused when they see such creative students. In other words, from the teacher's point of view, it is felt that the student is difficult to deal with.

Creativity is a messy, open-ended business.
Art is a model of life, and our life itself is art. Learning to respond well to art, to our lives, is at the heart of arts education.

Students use psychomotor skills to grow in the affective and cognitive realms.

Expression is higher than any knowledge or skill.

  Csikszentmihalyi's 10 paradoxical quantities of creativity (note, from important things)

1. Creative people have strong energy, can concentrate for long periods of time, and like to be quiet and rest. Therefore, in order to maintain and develop this creativity, do not try to divide the work into time or schedule units, but provide enough time to do nothing. (e.g. sketching, brainstorming, journaling, etc.)
2. Creative people are likely to have high IQs. He always raises reasons and questions about everything and is critical. In this case, the teacher should accept the criticism of the students and actively seek answers to the questions.
3. Creative people have a sense of playfulness. They understand difficult issues easily and often approach them cynically. The problem is that this behavior can prevent you from learning the perseverance to execute amazing ideas. Teachers should help students learn patience at this time.
4. Playfulness-discipline should be harmoniously combined. Creativity is important, but it takes patience and perseverance to make this ability a reality.
5. You must be persistent. For ideas to be adopted and developed, these ideas must be turned into reality. Teachers give students a lot of information, and a lot of information provides a way to show the world, which increases creativity. Intercultural content and deep experiences have the highest value.
6. You tend to be extroverted. Creative human beings are very curious, so they have a lot of questions about themselves and their surroundings. Taking good care of their extroverted tendencies will help them work on projects that require collaboration.
7. Freedom from gender and geopolitical roles.
8. Creative people are independent. However, this excessive independence can make it difficult to follow social rules.
9. Creative people are critical.
10. Creative people are critical but sensitive to criticism. Therefore, teachers should give these students mild and constructive criticism and teach them that criticism is important for their problem-solving skills.
ㅡThe important role of metaphor

Metaphor: A symbolic transformation that occurs when the whole of one thing (a visual image, figurative expression, musical composition, etc.) represents a whole of another thing. Visualization is a form of thinking, and visual and metaphoric can be non-verbal, symbolic, and conceptual information about the world. Visual metaphor gives form to the otherwise unknowable and objectifies it through feeling and imagination. This is an essential thought process for understanding the world.

Woodman said “to lose our sense of parallelism or similarity between things, or our sense of the connection between different realms of experience, is a sort of cultural blindness and deafness.

Synetics by William J.J.Gordan (1961)

A conscious approach to constructing analogies (intuitive, personal, illusory or symbolic) to solve problems or generate ideas.

Metamorphic problem

Analyze the nature of a situation to more easily identify specific factors and potential solutions.

Creative interpretation depends, on open, connective, often divergent inquiry.

How is creativity nurtured in school?

First, remove the blocks that block creativity.

Block = Fear (fear of making mistakes, fear of being seen as stupid, criticism, misuse, alienation, clashes with conservatives, taboos, insecurity, fear of losing love and approval, fear of going against group goals, etc.)

 Teachers must develop active, constructive and positive thinking that challenges social norms. Creativity is linked to society, but more often against society

Students must be taught that in order to manipulate the system, they must internalize it.

Don't be afraid of evaluation, encourage it

For every successful innovation, there have been many failures.

Creative learning requires an in-depth approach, not a broad approach. Students need time to explore and solve problems of their own choosing.

Giving students a lens through which they see a different world

Brainstorming: The Best Way to Grow Creativity (Research Journal, Portfolio)

Looking at Howard Gardner's Process portfolio model in Howard's project zero, it should include original sketches, interim drafts, critiques of the student himself and others, and other work related to the student's work.

  I'd like to happily show my student's artworks in my blog.
 
As I teach students, the part that was initially limited to coloring within the line gradually breaks through the line, and returns to the line again, but I see that it is not the same as before and has developed more and more.

 Usually first-time learners are afraid of shadows and shading. However, once you feel the joy of painting, your fear of shadows disappears and you become more and more daring.

  They know very well that what they have to express in the end is the feeling of painting and themselves.

  There is a Korean artist who captures landscape paintings with a sense of familiarity unique to the Orient and portraits obtained by visiting China and Mongolia through the misty and mighty tip of a brush.

  Using the 'sfumato technique', he developed oriental painting materials and techniques into his own unique technique, interpreting oriental painting in a western way and creating a new world of art. Sfumato is an Italian word meaning 'smoke-like' and is a technique of naturally spreading the contours of objects or people without detecting them with lines.

  ​This technique is fine shading to create smooth transitions between colors and tones to achieve images with greater detail and depth. It is often used to create a subtle gradation from light to dark without lines or borders. This technique has been used not only to create ambiguous and fantastical representations of human faces, but also to create rich atmospheric effects. Leonardo da Vinci described this technique as mixing colors without the use of lines or borders "like smoke".

   Sfumato is an oil painting technique primarily associated with Leonardo da Vinci's Mona Lisa, where the contours of the face are unrecognizable and the shadows have only a soft gradation. A great sfumato can be obtained using a variety of art techniques, such as applying a thin glaze, as Leonardo did. A smudge technique using a rag and fingers, and finally dry brushing a fine cake mixture of oil paint over specific areas of the portrait. Thinner paint rubs lightly like a soft pencil or charcoal.

   This technique, like oil painting, can be painted subtly, allowing for minimal brush strokes and materials by rubbing oily paint on a cloth canvas between the threads of the textile and among the tiny fine spaces. However, there is a limit to expressing this technique with oriental paint that spreads uncontrollably with a few drops of paint on paper. This is also the fundamental reason why oriental ingredients do not have a western feel. Therefore, if these technical limitations are not overcome, there is a high possibility of being isolated in each area, divided into oriental and western. In this case, there is a risk that art will become indigenous and will not develop any further.

 However, in my personal opinion, it is interesting that Lee Gwan-soo, who challenged Western techniques beyond the limitations of materials, raised the possibility of a fusion art of the East and the West once again. And as more and more of these challenging oriental painters become more and more, I want it to become a common style of painting where the oriental and western arts naturally harmonize.

  Below are some of my favorite works by Lee Kwan-soo.

  * ​The image above was uploaded with the permission of the artist and cannot be downloaded or used for other purposes under copyright.

  After reading the article, "Deanna Marie Pecaski McLennan's Process or Product? Through the journal The Argument for Aesthetic Exploration in the Early Years", I recognized the dangers of ready-made projects and realized the need for open, process-oriented education.
 
I also learned that a more important goal of education is to support and nurture artists throughout their lives. In the past, I heard the following from a parent who wanted to let her child learn drawing.

  “I want to let my child make a lifelong friend.”

 As her wishes, art can be a lifelong best friend for your children. Art comforts people. And never will betray your children. It gives interest when bored and soothes the mind when lonely.  Rayme's statement, artistic practice, is to transcend unpretentious materials to create original statements or expressions in a more open, meaningful and enduring way'' (Rayme 2006) makes sense.

 The arts accompany us throughout our lives, generating meaningful and creative activity in a lasting way. We will never be lonely in art. If you think about it in this way, you can see how dangerous closed activities that simply produce results can be. For example, teachers make students draw their own pictures, or evaluate pictures as if they have answers, like math.

 Today my daughter came home from school crying. She said with tears, "Mom, Leslie draws better than I did. She draws  more perfectly!" 

I had to explain to my daughter that art is about making the invisible visible. In other words, it taught us that the invisible mind is more important than the visible result. I showed a picture of German painter Noeun Lim, who only draws pictures as if they were drawn by a child.
  
 In about exactly 5 seconds, she stopped her crying and started laughing. 

 In the end, we find that the closer we get to the essence of art, the more I stop competing and obsess over the outcome. That is the opinion I felt after reading this journal. So, as time goes by, it seems that I naturally do process-oriented art activities with an open mind.