A Discussion of Artificial Intelligence in Visual Art Education

Since ChatGPT emerged on November 30, 2022, Artificial Intelligence (AI) has been increasingly discussed as a radical force that will change our world. People have become used to AI in which such ubiquitous technologies as Siri, Google, and Netflix deploy AI algorithms to answer questions, impart information, and provide recommendations. However, many individuals including originators and backers of AI have recently expressed grave concerns. In this paper, the authors will assess what is occurring with AI in Visual Arts Education, outline positives and negatives, and provide recommendations addressed specifically for teachers working in the field regarding emerging AI usage from kindergarten to grade twelve levels as well as in higher education.

On visual art elements of the web interface

With the rapid development of modern high-tech, human society is advancing towards the information age. The advent of Intemet technology has brought mankind a new communication experience, and it makes communication between people undergo a fimdamental change. Today＇ s information and communication has broken the traditional way, storage, use and exchange of information are all inseparable from the network, the platform. Network development is affecting all aspects of human behavior and production life. In network technology, web interface design is a very important part. Web interface design is inseparable from the visual arts, both in mutual integration and the overall design, so that the web interface has the aesthetic appeal of the visual arts and the humanities connotation. Due to the development of network technology, people also put forward higher requirements for web design. Web interface design should not only reflect the excellent content, but also create one of the most intuitive visual arts presentation form. This text will begin from a Web page design and production, analyzed and studied its visual art elements to achieve a reasonable and beautiful web interface.

A visual art museum in Sweden as pedagogical scenery: Gibbs’ reflective cycle guiding student nurses in the reflective process

The pedagogy employed in health care education must continually be questioned and expanded. Student nurses must be prepared for nursing practice that continually changes, consequently alternative concepts in nurse education must be considered. The aims were to provide student nurses with reflection skills and to evaluate the potential of studying the reflective process using visual art at a museum as an enriched activity in education. A pedagogical program with Gibbs’ reflection model was used as a complement. The study was conducted at a University College of Health Sciences in Sweden in collaboration with a visual art museum. Data were collected during a period of three years. A random sample (n = 35 of n = 98 students’ reports) was selected for qualitative analysis. The painting by George-Pierre Seurat, Seated woman was used as a source of inspiration. Analysis was conducted of the excerpts generated from the steps in Gibbs’ reflection model and from students’ evaluations of the teaching-learning structure. The results show that students were able to build hypothetical situations around the character depicted in the painting. They observed and described a great many aspects of the reflective process. The chosen painting was regarded as suitable for its purpose, and a source of inspiration. It could be interpreted as a patient you might meet in clinical practice. The students′ evaluations show that they became aware of knowledge they had not thought of before, and a way of taking a step closer to clinical practice. It could be concluded that art museum could be regarded as a stimulating environment that nurtured the reflective process. Consequently, visual art museums have to be considered as possible teaching learning milieus to be used in nurse education. It is to be hoped that this study will contribute to further development of visual art museums as teaching learning settings.

A language to analyze, describe, and explore collections of visual art

A vast quantity of art in existence today is inaccessible to individuals.If people want to know the different types of art that exist,how individual works are connected,and how works of art are interpreted and discussed in the context of other works,they must utilize means other than simply viewing the art.Therefore,this paper proposes a language to analyze,describe,and explore collections of visual art(LadeCA).LadeCA combines human interpretation and automatic analyses of images,allowing users to assess collections of visual art without viewing every image in them.This paper focuses on the lexical base of LadeCA.It also outlines how collections of visual art can be analyzed,described,and explored using a LadeCA vocabulary.Additionally,the relationship between LadeCA and indexing systems,such as ICONCLASS or AAT,is demonstrated,and ways in which LadeCA and indexing systems can complement each other are highlighted.

Survey on computational 3D visual optical art design

Visual arts refer to art experienced primarily through vision.3D visual optical art is one of them.Artists use their rich imagination and experience to combine light and objects to give viewers an unforgettable visual experience.How-ever,the design process involves much trial and error;therefore,it is often very time-consuming.This has prompted many researchers to focus on proposing various algorithms to simplify the complicated design processes and help artists quickly realize the arts in their minds.To help computer graphics researchers interested in creating 3D visual optical art,we first classify and review relevant studies,then extract a general framework for solving 3D visual optical art design problems,and finally propose possible directions for future research.

Preschool Child＇s Researching Interests and Role of Visual Art＇s Expressing Media

Genuine interest, research zeal, and visual art expressiveness which are typical of the pre-school period can pose a challenge to every teacher, at the same time, guide them when planning different contents for children to explore and discover. As one of the primary expressing media and an important support when forming concepts, visual art plays an indispensable role in the pre-school period. The following thesis is based on an action research whose key tendencies were focused on establishing children＇s interests in different useful materials and tools while enabling them an autonomous visual art use of these tools and didactical possibilities of the teacher involved. The activities included in the research were fully in line with the Slovenian National Kindergarten Curriculum and the project was carried out in the form of several successive meetings intended for visual art creative activities. All activities in the research were photo-documented while the analysis of the research＇s data was performed based on observation and written notes referring to individual child＇s responses, his or her questions, ideas, and incentives, the course of cognitive and creative process, communication with the peers and teachers and other potential particularities.

Seniors’ experiences of visual art environmental enrichment

The present study aimed at determining whether short-term exposure to art in shared common areas in congregate housing units could affect health and health determinants among the residents. Ten residents (mean age 80.4 years) at one block were exposed to visual art environmental enrichment in common areas over a period of three months. Thirteen persons (mean age 86.6 years) living in another block played in-house boule. Cornell’s test, Mini-Mental tests (MMT), and face recognition test were performed to assess depression, cognition, and episodic memory, respectively before and after the intervention. The results show that visual art environmental enrichment in common areas and lack of stimulating and guiding dialogues show a change in depression scores in the intervention group (p = 0.018) and the control group (p = 0.009). MMT scores improved only in the control group (p = 0.003). No changes in episodic memory in any of the groups were observed. It could be concluded that in order to obtain a positive result of short term visual art environmental enrichment, guiding art dialogues conducted by nurses, as described in previous research, should be added to visual art environmental enrichment in healthcare settings.

Stuck with the Sur-face： An Ethical Approach to Facial Disfigurement in Willa Cather＇s ＂The Profile＂

The human face consists of three dimensions： （1） the visible, static sur-face, （2） the mobile dimension, which communicates thoughts, emotions, and states of mind, and （3） the invisible dimension, the face aspars-pro-toto for the whole person who owns the face. In this latter sense, the human face is at the center of Emmanuel Levinas＇ theory of ethics： We encounter each other face-to-face, he argues, and it is the other＇s face that calls for my ethical response to the holiness of his/her wholeness and essence. The primary ethical imperative is： ＂Thou shalt not kill.＂ When we encounter a facially disfigured person, we usually fail to respond ethically because we concentrate on the disfigurement. The second dimension, as a result of the disfigurement, is often impaired and thus incapable of communicating in such a way that we can ＂read＂ the face. With our gaze fixed on the disfigured part of the face, we lose sight of the person as a whole. Metaphorically speaking, we could even say that we ＂kill＂ the person. Levinas conceives of the other＇s face not in its plastic manifestation. But the encounter with the other does at first take place as embodiment. According to Merleau-Ponty, this encounter is by definition interactive and dialogical. In Willa Cather＇s short story ＂The Profile,＂ young beautiful Virginia marries a portrait painter after he has finished her portrait in profile. The left side of her face is severely disfigured because of a burn. Her husband is waiting impatiently for her to talk about ＂it＂ and the suffering it must cause her in order to ＂heal＂ her with his love, but she behaves as if it did not exist and even likes to dress extravagantly. In the following analysis of the short story, it will be illustrated how the husband fails to respond to his wife＇s face＇s invitation to interact with it and get in touch with the wholeness of her person that it stands for. Instead, he reduces her to the disfigurement. When he finally names the scar, he metaphorically ＂kills＂ her, as well as their marriage.