Surviving as an artist and an educator in the age of artificial intelligence
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.
Art for life ; Authentic Instruction in Art by Tom Anderson
- 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.
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.
Process vs. Product ?
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.
"I realized many things in the painting, and I realized that I am nothing but a small grain of sand in front of the great nature," she has expressed the shape of nature in the simplest form. It is based on the belief that "True art wants true purity. Art survives when simplicity remains, leaving behind all complexity or technology." by artist, Noeun Lim
Creative Play as an artist
I read Eliza Pitri's book, Art Education, and found that the creative play she emphasized time and time again was all contained in the simple example given just above. It is that adults often look at children playing and say, “Now, do you want to stop playing and do something else?, is a dangerous question that blocks emotional and social growth before reaching adulthood. She described play as a very serious area from an educational point of view (even using the word business). In other words, it is an essential learning medium.
This is essential for children's education and growth, and it was argued that play-style learning should be introduced to the entire curriculum, not limited to a simple recess time in the curriculum. To underscore this importance, she cites as an example that by the age of 4, children can learn everything through play without any additional instruction. This kind of play is spontaneous and creative, with unlimited freedom without any restrictions. In other words, in her words, “there is no extrinsic goal, motivation is intrinsic.” Therefore, it is said that even teachers or parents should play as friends without intervening in this. This is because at the moment of intervention, play is distorted and controlled, and passively with someone's notice. She believes that because play occurs with familiar objects and follows her search for unfamiliar objects, she gives meaning to her actions and gives her self-control. The goal of this creative education is to enable children to make choices, communicate their choices through play, and receive feedback from others.
At this point, I remembered an experience when I lived in Germany. In the town called Waldstadt where I live, the Waldorf School was very close. I often passed the Waldorf School or took a walk there. However, I noticed one strange thing. The children were playing outside every day. And they used to show off what they made while watching me pass by like a wonder. I asked her husband on a walk, ‘Is it okay that you guys play like that every day?’ And later, I was surprised to learn that the school was attended by outstanding German Nobel laureates and artists. I play like that every day, but when did I study and get the Nobel Prize?
However, according to Sponseller (1974), as the starting point of Eliza Pitri's artistic and creative play education was to identify the positive contributions that play provides to all stages of life and all areas of development, I unknowingly confirmed the positive contributions with my own eyes. It has been counted. To sum up, Eliza Pitri's creative play uses the spontaneous, free, self-exploratory, intrinsic, and communicative attributes of play itself among the functions of play that can make a positive contribution throughout life to solve problems occurring in the educational field. It means to use it as a medium that can be used.
The limitless freedom of play and the capacity for unconventional creative forces are once again confirmed at the Victoria School. I wanted to know the driving force of this school, astonished by the fact that a university that had been in ruins due to a simple low enrollment rate has now become the best art university in North America since 1985 when Bob Maskell took over as principal. Principal Bob Maskell converted the school into an arts-oriented school and actively employed professional artists. And it has changed children's education from tedious paper and pencil learning on a desk to space education that takes place on a playground, auditorium, or stage under the leadership of a professional artist. In free spaces, children develop a greater sense of ownership in their learning experiences, as knowledge is not acquired as a collection of facts, but rather within the context created by a theme or story. I especially like Sherrl Cleland, art teacher's words, using art as part of 'practice' should be as natural as breathing. Music, fine arts, drama, dance and literary arts make the teaching and learning process three-dimensional, more realistic and therefore more meaningful.
In fact, through a project called The Space Between, they share the thematic characteristics of the gallery's current exhibitions and experiences between visual artists and viewers, performers and audiences, students and professional artists, and develop themselves as true artists. This is the same point of view in that Eliza Pitri's creative play utilizes the multifaceted advantages of play, but in Eliza Pitri's case, there is a difference in that professional instructors or artists are involved, unlike Eliza Pitri's play, which excludes external factors as much as possible.
In my opinion, in childhood, Eliza Pitri's play classes help develop children's creativity, but for students who have to step into the jungle of direct socialization as adolescence, I think the Victorian school style professional education is more suitable. This is because Victoria School engages experts, but participates as a partner sharing the experiences of student-led projects, so I think it is a good way to systemize it to some extent rather than leaving it as play itself without a separate system, even if it is creative play. . It's just that using the aforementioned art as part of your practice should be as natural as breathing.
Finally, I am very happy that through creative play I have found clues and evidences that will give meaning to my artistic activities. Through my painting work for the past 10 years, I have created a philosophy that painting should be natural, spontaneous, free, spontaneous, interactive and accessible like play. This is the result of a combination of failures, trial and error, and rewards that I have experienced through painting. In that sense, I am currently concentrating on creating natural patterns using the baluns meshing technique. I needed a name for this job. And I feel very lucky to have discovered the name of my work.
The important contributions of theatre games to social-emotional learning
Winifred Ward, the founder of the field of creative drama, created children's theater with the philosophy that instead of memorizing parts of speech and acting set up by a teacher, children develop a play with their own thoughts, imaginations and emotions. This is also confirmed by Nellie McCaslin in her book Seeking the Aesthetic in Creative Drama and Theater for Young Audiences. “Let your child have an aesthetic experience in drama class?” I am sure. It is time to emphasize honest acting without burden. As long as you don’t memorize lines or do things to please others.”The efficacy of theatrical games according to the components of SEL (social emotional learning) can be summarized as follows.
-There is a saying from Steve Kay in a TED talk, ‘We are designed to play’. We usually think of the opposite of play as work, but it's not that, it's depression. Through play, we learn who we are, what we like, and what we pursue. If this kind of play becomes artificial or determined from outside control, people in the North Korean system will live a life without themselves, just like playing card section.
-Sussanne Longer said in her book Short Excerpt from Creative Drama in the Classroom and Beyond that “art creates perceptible forms expressive of human feeling”. And the words below of what she said after that are very meaningful to me. “Laugh at mistake!!!” We express ourselves freely in the safest and most comfortable state through play games. This increases your awareness and understanding of human emotions, including your own. As a result, you will understand and accept your own mistakes and imperfections. Eventually, you become tolerant of the imperfections and mistakes of others. You will manage yourself more positively and develop, reduce stress, and gain strong courage and motivation to go out into the world.
- According to Sheldon Patinkin's Plays (2000), drama activities don't usually happen at a desk. Students need open space for movement. Impromptu games are not meant to be won or lost, nor are they games for fun. They are in the moment, completely present to each other on stage. As the textbook, Drama for the inclusive classroom is introduced in Chapter 1, it is easy to perceive society itself as a jungle-like competitive society under the influence of excessive mass media. Through SNS, we easily divide everything into likes/dislikes. It's easy to think that this world is a win-lose game, maintained by popularity. At this time, drama activities help us to realize that the world we perceive is more developed, healthy, and wholesome through experiencing presence on stage.
- Economic psychologist Paul J. Zak discovered that when we respect each other, play together, and laugh together, the feel-good hormone oxytocin is released in our brains and bodies. It motivates you to expand your social network, make friends, and reach out to others in a positive way (Zak, 2012). A virtuous cycle is created in which oxytocin creates feelings of respect, trust and empathy. These social experiences lead to collaboration, connection, and sharing, which in turn leads to more oxytocin, which in turn leads to more.
- I was able to confirm this again through Vicky Saye Henderson's TED talk. In other words, how easily you can get to know each other just by playing a game where people face each other in a circle. Through theatrical games, people can slowly take off their armor, take off their formality, and show their truest selves. This helps build a real relationship.
Responsible decision making
- To summarize the text of Excerpt from Improvisation for the Theater, the game is a skill to make the rules of the game while enjoying yourself without external authority, do self-discipline, and make the right decision for yourself without being swayed by the gaze and evaluation of others. it grows This helps students to make responsible decisions as independent beings, unlike passive closed education, which makes them unable to do anything without a teacher or leader.
Myungja Anna Koh
|Myungja Anna Koh||
ArtIST'S DIARY ...