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.
Myungja Anna Koh