YEOJUNG

“I used to want to be an artist, but I don’t have time for that,” a 13-year-old girl said in an interview. “Ever since I started preparing for my 11+ exams, I didn’t have time to do what I wanted to do.

Typically, pupils preparing for exams begin their 11plus preparation – an entrance exam for secondary school – in the summer preceding Year 4, when they are 9-10 years old.” Obviously, there are varying degrees of pressure, but it is a fact that academic pressure starts early and necessitates a significant time commitment.

The progression of smartphone camera capabilities and the development of various applications have democratised the domain of video production, previously reserved for professionals, to everyone, including children. In addition, the rise of artificial intelligence (AI) image generation technologies has initiated the replacement of visualisation processes. These tools can serve as fascinating alternatives, particularly for teenagers experiencing time constraints.

There are two primary reasons why teenagers may experience a shortage of time. Firstly, their educational pursuits, as many of them often have a timetable chock-full of lessons, coursework, and exam preparation. The importance of education in one’s life should not be downplayed, and it certainly has a considerable impact on time management.

Secondly, young individuals may experience a lack of time to enhance their skills. Many teenagers have a strong desire to be creative but often find themselves losing confidence or feeling frustrated when they cannot find the appropriate skills or medium to realise their ideas, leading them to spend time on consuming activities rather than creative ones.

One possible solution to these challenges is introducing AI image-generation tools like ‘MidJourney’ and other applications such as Dalle.e.3 and SDXL1.0. These applications can offer young people the following benefits:

Accessibility as a creative tool, as AI image generation tools are intuitive and allow for immediate creative engagement without requiring complex skill acquisition, thereby reducing the hurdles to creating and stimulating creativity. With the aid of these tools, youngsters can quickly and efficiently transform their imagination into visual forms.

Chances for technological education: Through interaction with AI technology, kids can naturally gain novel aptitudes and elevate their digital proficiency in the digital era.
For teenagers who struggle to find time for both school and learning new technologies, AI image generation tools could serve as a powerful tool to simultaneously develop creative expression and technical skills. Although these tools cannot entirely replace traditional learning methods or creative processes, they offer significant potential as supporting tools.

The convenience and creative stimulation offered by AI image-generation tools do have their downsides and issues. First of all, there is the issue of diminished creativity. Solutions provided by AI could result in users, especially children, circumventing the direct creative process and becoming overly reliant on technology instead of cultivating their imagination and problem-solving abilities.

This could lead to detrimental consequences, like increased technological dependency. Using AI tools may lead to dependency, with users relying on AI rather than developing their own skills to address technical challenges or engage in creative work. I am primarily concerned about excessive screen time in children and teenagers resulting from creative activities through AI tools. Such prolonged screen time may lead to physical inactivity, resulting in potential health issues. Also, the technology divide: Insufficient access to current technology worsens the digital gap, depriving some children of its benefits.

AI image generation tools were considered to alleviate the time-consuming nature, but only the experts and their children attempted this due to its long-term detrimental effects on creativity. The outcomes were dissatisfactory, and while the time to acquire technical skills might be reduced, the time to produce results cannot be shortened.

https://escholarship.org/content/qt1m08m62x/qt1m08m62x_noSplash_a6d5e1382e3d50481dbcfbec90e0dc89.pdf?t=op9xwt

As one part of my action research, I have been practising formulating each question in the ‘how can’ format since the summer, and this continuous exercise has led me to think more deeply about my role. In today’s tutoring session, I found myself reflecting not only on this course, but also on my role beyond it, or even something beyond it. Before developing the final intervention, I felt the need to take a pause from the haste of running towards the end.

As an experienced creative director and novice researcher, my position lies at the lively crossroads of artistic innovation and academic investigation, affording me a distinctive opportunity to add value to the dialogue on emerging literacies and visual culture for children. I have adopted this role in order to make a meaningful contribution to this evolving field.

In today’s digital age, where literacy boundaries extend beyond the written word, my objective is to identify and utilise the potential of visual culture as a vital element of children’s literacy. Over the past decade, the transition from passive consumers to active creators has been crucial, and my work aims to be at the forefront of this shift, advocating a paradigm where children are empowered with the skills to proactively explore and shape the digital landscape.

Through my research in this course, I have identified that this study will form the foundation of my contribution. I have immersed myself in both contemporary and seminal works and critically analysed the existing knowledge on visual literacy, digital fluency and children’s engagement with media. This comprehensive understanding has not only informed my practice but also enabled me to recognise gaps and areas ready for innovation.

I explore this subject to create educational materials and imaginative schemes that demonstrate a thorough comprehension of the part of visual culture in literacy. Through examining interactive experiences and digital platforms, I have tried to make the theoretical principles of new literacies tangible and accessible. This practical application is a form of action research, allowing me to observe real-time interactions, collect data and iterate on creative concepts to enhance their educational value.

Another crucial factor in my experience has been my participation in workshops and interventions. These have acted as laboratories for exploring how children interpret and create visual content. The insights gained have been instrumental in shaping a more nuanced approach to visual literacy – one that is adaptable and sensitive to the diversity of children’s experiences and cultural backgrounds.

An unexpected challenge has been the need to constantly advocate for the inclusion of new literacies in curricular frameworks. Despite the clear importance of visual literacy in the modern world, there’s been resistance to its full integration into educational systems. Another challenge I’ve faced is recognizing my own lack of pedagogic knowledge and the fear of being restricted by my commercial background and educational framework, which is an ongoing conflict. Collaboration is essential, and I regret not actively seeking partnerships with educators, psychologists, and technology specialists. I am aware that taking a collaborative approach can extend the reach of my work, bringing it into classrooms, after-school programs, and digital platforms used by a diverse range of children. Above all, I have prioritised creating an environment that upholds the right of children to be happy and empowered for creative development.

Looking ahead, I aim to continue to bridge the gap between research and practical application. I will continue with my research agenda, implementing imaginative and creative exercises to understand the impact of our digital tools on children’s learning outcomes. My ultimate aim is to consistently refine these tools to foster a generation of critical thinkers and creative problem solvers who are fluent in the language of visual culture.

My research contribution to the discourse on new literacies and children’s visual culture is an ongoing journey of discovery, creativity and advocacy. By fusing research and practical innovation, I strive to create experiences that resonate with children and equip them with the skills to thrive in a rapidly evolving digital world. This mission isn’t just about shaping the discourse; it’s about shaping the future – ensuring that our young people are prepared to lead it with confidence and imagination.

Lately, I’ve been experiencing continuous tiny traumas. It’s nothing major, but a constant flow of microaggressive feedback has left me feeling drained. I believe myself to be quite resilient, even in harsh environments, yet it seems that, as Dr Meg Arroll points out, these tiny trauma responses can ultimately have the same impact as significant traumatic events. It’s become apparent that enhancing my psychological immunity is necessary.

If children facing situations like these tiny traumatic experiences, isolation, bullying, or feeling unsafe in their environment, what would provide comfort and a sense of security?

The “How art can save our life” article makes me think about art creation as an outlet or regulator.

https://iai.tv/articles/how-the-arts-save-us-auid-2486

https://www.artsandmindlab.org/wp-content/uploads/2023/09/ArtsandCulture_Goldenetal2023.pdf

https://massculturalcouncil.org/documents/CultureRx_SocialRx_Evaluation_Final_2022.pdf

Like art therapy, creating or experiencing art can lower stress levels. Drawing and even doodling provide a distraction that allows individuals to enter a flow state, a meditative-like state that can help reduce cortisol levels.

Creating and engaging with art can teach resilience. Making art often involves trial and error, and learning to cope with and learn from failures can boost emotional strength.

Art is a universal medium anyone can access, regardless of age, education, or background.

Suddenly, I remembered harsh feedback from a filmmaker: he no longer works with us. I remember him saying, “Art is only for rich kids; you don’t know how expensive paints are, how art workshops help children, and all this stuff.” I think he went too far. It’s true that my net is not very tight. I hope it helps someone, and it’s cheaper than the time the kids waste, and I promise myself I’ll think of a better way.

I’ll have to look up the kids’ classes or programmes.

https://www.arts.ac.uk/subjects/fine-art/short-courses/creative-process/future-creatives-art-and-design-workshop-for-11-to-17-year-olds-future-creatives

Explore your feeling with art : https://www.tate.org.uk/kids/explore/what-is/explore-your-feelings-with-art

https://www.conservatoire.org.uk/mixedmedia

http://henryjenkins.org/

Arroll, M. (2023). Tiny Traumas: When You Don’t Know What’s Wrong, But Nothing Feels Quite Right. Thorsons

Reflecting on the intersection between children’s visual culture and the current digital media environment forces me to think deeply about the role this ever-expanding universe plays in shaping young minds. Acknowledging the immensity of visual stimuli accessible to children today, I am struck with a sense of fear and anxiety that the digital realm is a vast ocean in which children search for meaning, entertainment and identity.

I frequently think about the vast amount of visual stimulation available to children today. It marks a significant shift from the past when a few television channels and books defined the parameters of visual culture for young people. Now, an infinite number of images, sounds and interactive experiences compete for their attention. As someone who observes, I wonder how this digital media landscape is affecting the empowerment we are trying to give our children. Are we empowering them to navigate these waves with confidence, or are we overwhelming them with a flood of content?

In my own experiences with digital media, I’m struck by its dual nature. The digital landscape has democratised access to information and creative tools, giving children unprecedented opportunities to learn and express themselves. A learning application can be tailored to a child’s individual learning style, providing a sense of achievement and personal growth. Nevertheless, I am equally mindful of the hurdles such an atmosphere can create. The potential for empowerment is balanced by the need for careful monitoring and guidance. In an environment where algorithms shape experiences, children may be directed towards particular behaviours and ideologies without the conscious consent of themselves or their guardians.

It is also important to consider the responsibility of creators and educators within this digital sphere. As they merge visual and interactive components to captivate children’s imaginations, which principles are they instilling in these digital creations? Do they encourage the young audience to think and reflect critically, or are they promoting passive engagement?

In the quiet moments when I watch a child interact with a digital device, I see a microcosm of the larger world. There is a sense of empowerment when they swipe and tap, choosing their path through the content. Yet, I am reminded of a children’s picture book quote from a papa bear: “With great power comes great responsibility.”How do we teach them to use this power wisely? How do we ensure that this digital environment, which can so easily simulate both classroom and playground, nurtures their growth and contributes positively to their sense of self?

During the pandemic, I watched two lengthy series on Netflix, one of which was “Supergirl.” Although no one else seemed interested in watching it with me, I enjoyed it. In one episode, there was a depiction of a metaverse-like virtual space. It made me think that such a development could be a blessing, a curse, or an opportunity for some people.

The idea that our environment is changing has become almost cliché. However, it’s true that we are on the cusp of significant macro changes, and even children are aware of the looming shifts, especially in the context of capital recovery and profit generation through advertising.

Finally, massive billboards appeared, altering the cityscape. Given the nature of Las Vegas, the appearance of such massive billboards can initially be described as impressive. However, to cover the production costs of the content displayed inside them, at least 5 to 10 similar structures would need to be built. How other cities will react to this development remains uncertain.

https://www.thespherevegas.com/

Another architectural structure is being designed, with the ambitious plan of encapsulating an entire city within a giant cube, creating an oasis in the desert. This exemplifies how our future is changing.

Collecting children’s voices is much more challenging than I had expected. There is an inherent rawness and unpredictability to their responses. Perhaps I am not sufficiently trained to understand their language. Which is why educators exist. I could create cultural content, but when it comes to children’s contexts, I find many messages from children seem overly complex and difficult to understand.

Sometimes, they are too profound to grasp the underlying meaning, and I sense my fear of opening it up. Untainted by the complexities and expectations of adulthood, children view the world through a lens of boundless curiosity and wonder. Their thoughts are raw, unfiltered, and individualised. Capturing this nature is no simple task.

Furthermore, the environment in which children grow up has significantly changed within the last decade. Digital advancements, shifting educational paradigms and a rapidly changing societal landscape all play a role in shaping their perspectives. Therefore, when we attempt to hear their voices, we’re not just aiming for words; we’re jumping into deep feelings, experiences and dreams.

This is where reality hit me, perhaps, with my initial assumptions. I assumed that an honest attempt, steeped in goodwill, would be satisfactory. However, children have taught me that simplicity and complexity can exist in a complex way. This has made me aware of the importance of patience, adaptability and, above all, genuine listening. These are the keys to truly understanding and responding to their world.

But then the question began to arise: can I really hear their voices? I already have a bias of experience and inferences based on personal memory. Someone once told me that it is ignorant to think that children are exceptional individuals who will repeat the lives of their parents and not be much different. Therefore, is the belief that children possess boundless potential nothing more than a marketing tactic exploited in the already commercialised education industry?

I sensed that a big internal struggle had started. This is just not right. But there was a part of me that had this inner voice. Just don’t sabotage yourself.

Since last summer, I’ve been working with a group of professionals in South Korea’s cultural industry to discuss how we can have a positive impact on children’s screen time. Here’s our conversation so far and my personal reflections.

1. Develop programmes tailored to children, such as direct new media literacy or a brief introduction to multimodal literacy. Pilot programmes for specific target groups, our preteens

– The challenge is that it inevitably costs money to produce the programme, so sponsors are needed, and it is difficult to maintain a public position. During my research on teenage depression, I was offered an opportunity to fund a youth programme in exchange for a commitment to feature PPL products. In short, I had to turn it down because I didn’t want to make a youth advertisement during this course.

Since then, I’ve been considering ways to make the programme less expensive. If it is feasible to use new AI image generation programmes, I think this could be one way to independently produce content. After some testing, the script was created with Chat GPT4, the images with Midjourney, the animation with Runway Gen2, the voice with Eleven Labs, and the background music with SOUNDRAW. These videos are still in their infancy, but in the not-too-distant future, we might be able to create audio-visual content without casting or filming.

It may be beneficial to introduce this to some teenagers, but it is uncertain whether preteens would benefit as they must find their own way to develop stories and learn the visualisation process and their unique style and tools. I’m also aware that this may be an archaic, pre-modern approach.

2. Offer suggestions to increase physical activity, such as offering physical activity through interactive art.

-Interactive art and immersive experiences are actually what I’m most interested in. Providing new experiences and creating emotional cathartic moments is my main goal. I have conducted extensive research to implement my ideas. However, these experiences are primarily aimed at adults. I believe that for children, real experiences should be prioritised, and the use of artificial artefacts that over-amplify dopamine levels should be avoided as much as possible. Some of the exhibits at ArtLab are intriguing; however, they may be excessive for younger visitors. One of the experts mentioned the works of Miguel Chevalier, and our conversation amusingly ended with the idea of an interactive version of the game Twister.

3. Allow children to experience the joy of creation, such as storyboarding with five photos they took or making a short monologue film using their smartphone.

-When I proposed that the students capture five photographs, either intentionally or randomly, and use them to construct a narrative composition, my suggestion was told that this would be too cinematic. My goal with this intervention is to demonstrate how this activity can directly or indirectly allow the children to understand the intention of the video production and how their imagination can influence the meaning of a photo or video image.

Additionally, the rise in children’s screen time can be linked to the expectation that it will be fun and their friends will be there. One potential solution proposed was the creation of a virtual playground. However, the main obstacle was to distinguish it from existing online platforms for children and to design it to be non-commercial, as this could contribute to further screen time consumption.

We engaged in an open discussion about what we were trying to do to reduce our children’s screen time. We were surprised to discover that the professionals without children had a slightly stricter view. Many of us adopt time limits, but they’re not effective. It was expressed that it is challenging for adults to regulate, leading to children’s excessive digital device usage. To a certain degree, I perceived this as acquiescence. A specific child showcased a highly disciplined smartphone user and said it was just a natural tendency. There were no guidelines or environmental factors involved; it was solely due to her personal characteristics. This contrasts with her younger sister, who spends more time online and is currently experiencing conflicts with their parents.

An expert explained that he sends his children to an unauthorised specialised school that does not follow the national curriculum without using digital devices and that if the school environment does not change, the standards of each parent can easily change according to the school’s policies and rules.

Meeting with creators can bring practical results, but it also confronts us with the real barriers we know well. Therefore, I must admit that I face challenges in approaching my project within the educational framework. I believe that through artistic activities, we can not only prevent excessive screen time among young people but also provide them with positive engagement experiences. In the same way that adults seek entertainment in their leisure time, I hope that children will find ways to express themselves beyond simply scrolling through screens.

Perhaps I am the one who needs to embrace new thinking. In an era where ‘Homo promptus’ emerges as a keyword trend of 2024, it’s necessary to re-evaluate and ensure that my thoughts aren’t too conservative or outdated. And then, I should consider the possibility that rather than chasing trends, it might be more important to seek out timeless truths.

‘Homo Promptus’

As it becomes increasingly crucial to discover the humanistic core required to survive an AI-dominated world, the professor advocates for the emergence of “Homo Promptus” ― individuals adept at strategically harnessing AI through prompt writing and engineering skills.

“When it comes to AI-generated content, the paramount factor isn’t the final product itself, but rather a sequence of prompts ― typically textual instructions ― crafted and fine-tuned by humans to yield the most desired responses,” he said.

He further outlined the essential attributes of “Homo Promptus” as threefold: a basic grasp of AI tool engineering, specialized knowledge in specific domains, and above all, a profound humanistic understanding encompassing history, philosophy and language that contributes to a comprehensive worldview.

“Trend Korea 2024” by Kim Ran-do / Courtesy of Miraebook

https://artemuseum.com/

I’m considering removing the educational aspect from my project and reframing my research question.

I’m trying to find the reason why I am reluctant to categorize my project within the confines of “education”. I feel that categorizing my project under “education” could undermine the individual, spontaneous, and organic nature of creative expression. Maybe I believe that creativity is a natural human experience and an expression of individuality that shouldn’t be institutionalized.

My project focuses on creativity and self-expression and might inherently be interdisciplinary, drawing from psychology, sociology, art, technology, and even philosophy. The term “education” might seem too restrictive or fail to encompass the disciplines my project touches upon. My project is meant to be flexible, constantly evolving, and adapted to the needs and backgrounds of diverse individuals; the “education” label feels too static or limiting.

My project is centred around self-directed learning and lets them free from the formal authority,traditional hierarchy structure. Or just simply my tendency to resist boxed identities.

I might think I’m not good enough or noble mind to deal with the educational aspect, even I say my hesitation could stem from a desire to preserve the essence of creativity and self-expression as free from limitations, fluid, resistant to standardization, and reflective of individual and cultural diversity.

For this reason, my current research question needs to be reframed to reflect a focus on creativity and self-expression within the digital age for preteens.

Current question: How can we support and empower preteens to become active creators in the digital age?

If I were to remove the educational framework from this concept, I wonder about its impact on children. What elements would evoke joy and interest in them? Would parents still have a reason to believe that this experience would empower their children? There’s a distinct contrast between the potential of a mere platform and personal capabilities. It makes me ponder whether the limitation is the commercialisation of the idea or perhaps its potential to be seen as mundane and ineffective.

If an intervention not going as I planned is considered a failure, then it would be correct to view this intervention of mine as a failure.

After careful consideration, I have identified the factors contributing to this failure.

Failure factors:

-The first and main factor was my naive assumption that inviting 10 pre-selected children and leaving the remaining 10 spaces open for local children would create positive synergy through diverse activities and opinions as various children come together.

-Overlooking the fact that the strong sense of community deeply rooted in this area does not pursue diversity.

-Schools for children here are communities, and there are many considerations in interacting with other communities; it’s taken for granted that there will be a closed-off tendency if those standards are not met.

-Many parents do not consider the local library a safe space. I should be secure more relaxing environment for participants. I should have considered it more.

A comforting factor was that, instead of carrying out the intervention I had prepared, I made sure the children who remained had a fun time. I thought it was necessary to override any awkwardness that some might have felt with a more enjoyable experience.

Reflection and Analysis:

I should have engaged more with the parents to receive a wider range of feedback by listening directly to the children’s stories. Children, still under the protection of their parents, are greatly influenced and tend to replicate the fundamental thoughts held by their parents. It’s not easy for parents to grant certain permission to their children, as they cannot possess them unless they want them themselves, and sometimes it cannot be encouraged because it creates conflict. Children grow by inheriting their unique mental and material legacy within the family, feeling a sense of security within the family culture. While living in the community called school, they meet and understand others, expanding their boundaries; however, in many cases, the more selectively they attend schools, the deeper, rather than broader, those boundaries tend to become. It’s the beginning of a league of their own. My intervention seems to have considered the possibility of creating culture from a media-centred perspective without considering many aspects. A deeper analysis and revised plan are necessary for next intervention.

How can children overcome their family and educational structures, which can sometimes limit their experiences and perspectives? Is it too much adventure for them? More importantly, is it necessary?

The decision to interview these two teenage girls was based on the expectation that they would have a fresh recollection and understanding of their preteen years. Simply having experienced preteen years doesn’t necessarily qualify someone as an expert. However, as teenagers have recently passed through this stage of life, they can provide distinctive and meaningful perspectives on the present culture, interests, and difficulties confronting the preteen demographic. As teenage mentors, these two girls may be well-positioned to comprehend and relate to the issues confronting preteens.

The interview was conducted with parental supervision. Interestingly, the open and free-flowing environment led to a moment where the interviewees implied they might share more if their mother was not present. This inclination is not so much indicative of parental control but rather demonstrates a common adolescent preference for keeping certain personal experiences hidden from their parents.

They recognised their transition from childhood, mentioning that turning 13 birthday party marked an age where they could genuinely enjoy parties. Furthermore, they indicated that if they maintained good academic performance, most activities associated with popular teenage girls would be permitted at home.

A noteworthy insight from the interview was their preference for personal beautification over creating artwork due to a lack of time. (At this moment, her mother said it was just an excuse.) They expressed that making themselves look beautiful and sharing these moments with friends was their primary form of self-expression. This response highlights a shift in the mediums and methods through which the younger generation expresses and shares their creativity and self-expression. 

From the interview, it was evident that these newly turned teenagers perceived themselves as mature individuals attending school. They valued non-stop communication with their friends, sending detailed texts via Snapchat. They did not view this frequent communication as a distraction but rather as a routine part of their lives, finding the concerns of adults regarding this behaviour perplexing.