Abstract
Technology has functioned as a useful and complementary tool for expanding creativity and arts and culture education. Science and technology are also inspired by artistic creativity. In this regard, arts and technology must meet and converge at these points. The recent technological change known as the Fourth Industrial Revolution is expected to bring about a more ground breaking change than the previous technological development. New tools and technologies such as big data and 3D printing are making attempts in the field of arts as new materials and mediums, and artificial intelligence technology displays activities for creating artworks by itself and is also involved in creative areas originally inherent to humans such as music or painting. This paper explores the recent debate over the relationship between arts and technology in the context of asking questions about the preparation and concerns regarding the relationship between technological change and arts; examines the nature of technological change in arts as well as its implications for arts and arts education; and observes the challenges in the field of arts during these transformative times.
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Notes
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In the UK, the Department for Digital, Culture, Media and Sport similarly published the digital culture report “Culture is Digital” in March 2018. This report is a strategic report seeking collaboration between cultures and technologies to enhance the competence and participation of cultural institutions. The three main themes include “Audiences: using digital technology to engage audiences”, “Skills and the digital capability of cultural organizations” and “Future strategy: unleashing the creative potential of technology” (http://www.gov.uk/government/publications/culture-is-digital).
The Canada Council for the Arts also operates a Digital Strategy Fund to facilitate responses to digital changes in the arts and to help artists and arts organizations understand and engage with the digital world, as well as cultural, and social changes (https://canadacouncil.ca/funding/strategic-funds/digital-strategy-fund).
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The emergence of the digital camera may not have made much difference between the previous analogue image and the digital photograph in terms of the act of taking a picture and viewing the results through the human eye. However, unlike analogue processes, which are summarized in DP & E (development, print, enlarge), digital processes involve numerous technologies and techniques such as facial recognition AF, synthesis, Photoshop, CGI (Computer Graphic Imagery), 3D and digital collage, and therefore, it is possible to create new results that are completely different from the original, beyond the mere duplication of development and the development provided by analogue photography. A new genre called “Imaging Science” as a more specialized area has emerged, going beyond the limits of analogue photography in which anyone can use the tools to create effects on original photos and process them as they are (http://blog.skhynix.com/1998).
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Artificial intelligence and big data technology, which are proposed as the engines of the Fourth Industrial Revolution, are becoming increasingly common. They are being commercialized continuously through everyday household appliances such as speakers and refrigerators. Smart factories in the manufacturing sector are being operated and new technologies are being developed in the fields of humanoid robots and virtual reality. Jong-eun Jeong (2017) explains why policy interest in the Fourth Industrial Revolution is garnering more interest than previous policy issues. It is necessary to understand that artificial intelligence and big data technologies that represent the Fourth Industrial Revolution are seeking integration with all societal fields such as convergence with the basic disciplines such as physics and biology, personal preferences and social relations in a comprehensive manner. In addition, technologies related to the Fourth Industrial Revolution such as the Internet of Things, blockchain technology, 3D printing, advanced robotics, synthetic biology, VR/AR, unmanned transportation and open innovation platforms are all expected to achieve great development based on enormous societal attention and capital investment (Jong-eun Jeong, 2017, http://www.kcti.re.kr/webzine2/webzineView.action?issue_count=69&menu_seq=3&board_seq=2).
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The term Digital Native describes a person that has grown up in the digital age, rather than acquiring familiarity with digital systems as an adult, as a digital immigrant (source: Wikipedia).
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The Virtual Multimodal Museum (ViMM) is a virtual museum that is designed to complement, strengthen and augment museums as a “digital entity” based on “personalization, interactivity, user experience, and richness of content.” Such virtual museums vary in the form of hyper-museums, digital museums, cyber museums and online web museums (https://www.vi-mm.eu).
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Virtual heritage or cultural heritage and technology is the body of works dealing with information and communication technologies (ICT) and their application to cultural heritage, such as virtual archaeology. Virtual heritage and cultural heritage have independent meanings: cultural heritage refers to sites, monuments, buildings and objects “with historical, aesthetic, archaeological, scientific, ethnological or anthropological value”, whereas virtual heritage refers to instances of these within a technological domain, usually involving computer visualization of artefacts or virtual reality environments. One technology that is frequently employed in virtual heritage applications is augmented reality, which is used to provide on-site reconstructions of archaeological sites or artefacts (source: Wikipedia).
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Arthur Samuel in 1959 defined machine learning as a field of study that gives computers the ability to learn without being explicitly programmed, i.e., artificial intelligence.
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“Kulitta”, an artificial intelligence program that analyses the rules from existing musical scores and combines them with new musical scales, has learned all of the music of Bach and has composed new music displaying high quality similar to that of Bach. There have been cases with people from a panel of 100 unable to distinguish the music from that of Bach (https://news.v.daum.net/v/20150902102405487).
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The Future of Jobs report of the Davos Forum projects that artificial intelligence in the era of the Fourth Industrial Revolution will remove 7.1 million jobs by 2020 and create 2 million new jobs. 68% of today’s 7-year-olds are said to be doing something new and unknown at present due to technological advances.
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Conceptual art refers to a form of modern art that emerged after minimal art. Marcel Duchamp, a pioneer of conceptual art, explained that the artist’s role was not to manipulate materials, but to select them for beauty.
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Most of Generation Z have used the Internet since a young age, and they are generally comfortable with technology and with interacting on social media (source: Wikipedia).
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Such independent and proactive creative activity is inextricably linked to the current trend of the maker culture. The maker concept started with the launch of Maker Magazine, which is published by O’Reilly Media. The maker culture is a contemporary culture or subculture representing a technology-based extension of DIY that intersects with hacker culture (which is less concerned with physical objects as it focuses on software) and revels in the creation of new devices as well as tinkering with existing ones. The maker culture in general supports open-source hardware. Typical interests enjoyed by the maker culture include engineering-oriented pursuits such as electronics, robotics, 3-D printing and the use of Computer Numeric Control tools, as well as more traditional activities such as metalworking, woodworking and, mainly, its predecessor, the traditional arts and crafts. There is a strong focus on using and learning practical skills and applying them to reference designs (source: Wikipedia).
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Hong, Y.J. (2023). Arts and Recent Technology, Exploring Responses in Times of Change. In: Jörissen, B., Unterberg, L., Klepacki, T. (eds) Cultural Sustainability and Arts Education. Yearbook of Arts Education Research for Cultural Diversity and Sustainable Development, vol 2. Springer, Singapore. https://doi.org/10.1007/978-981-19-3915-0_12
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