Paradigm Shift: Artificial Intelligence, Contemporary Art, and Implications for Gifted Arts Education
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In recent years, Artificial Intelligence (AI), a term coined by John McCarthy in 1956, has been continuously debated as creating arts using an AI has become more common in our daily lives; however, we argue that gifted arts educators are not yet prepared for the paradigm shift. As art educators interested in introducing contemporary art to the K-12 curriculum, in this paper, we shed light on the implications of the work of contemporary artists who actively incorporate AI technologies into their practices, particularly for today’s gifted arts education. We highlight the bodies of work of three artists/artist groups: Patrick Tresset, Shinseungback Kimyonghun, and Es Devlin. Their definition of the role of AI in creative art making processes is distinctive in their own terms and centered on their artistic goals and missions. Constantly seeking artistic possibilities in playful ways, these artists focus on intuitive processes, maintaining and developing their artistic curiosity and critical thinking, rather than on technologies themselves. They suggest that AI use in creative activities can push the boundaries of artistic practices and can challenge our traditional notion of what constitutes good art. It also questions the definition of “gifted” and “talented.” We encourage fellow gifted arts educators to accept this new challenge and to help their students encounter new ways to develop critical thinking and problem-solving skills by employing the conceptual fluidity and flexibility required for human-centered AI use.
Abstract
In recent years, Artificial Intelligence (AI), a term coined by John McCarthy in 1956, has been continuously debated as creating arts using an AI has become more common in our daily lives; however, we argue that gifted arts educators are not yet prepared for the paradigm shift. As art educators interested in introducing contemporary art to the K-12 curriculum, in this paper, we shed light on the implications of the work of contemporary artists who actively incorporate AI technologies into their practices, particularly for today’s gifted arts education. We highlight the bodies of work of three artists/artist groups: Patrick Tresset, Shinseungback Kimyonghun, and Es Devlin. Their definition of the role of AI in creative art making processes is distinctive in their own terms and centered on their artistic goals and missions. Constantly seeking artistic possibilities in playful ways, these artists focus on intuitive processes, maintaining and developing their artistic curiosity and critical thinking, rather than on technologies themselves. They suggest that AI use in creative activities can push the boundaries of artistic practices and can challenge our traditional notion of what constitutes good art. It also questions the definition of “gifted” and “talented.” We encourage fellow gifted arts educators to accept this new challenge and to help their students encounter new ways to develop critical thinking and problem-solving skills by employing the conceptual fluidity and flexibility required for human-centered AI use.
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