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A longitudinal constructionist case study of five student positions on AI as a creative collaborator in open source AI art pedagogy

This longitudinal constructionist case study of five Kyoto Seika University students tracks their evolving mental models and distinct positions on AI as a creative collaborator over 25 months, revealing a five-part spectrum of stances and identifying specific mechanisms where AI scaffolding fails to support realization.

Original authors: Atticus Sims

Published 2026-07-03
📖 5 min read🧠 Deep dive

Original authors: Atticus Sims

Original paper licensed under CC BY 4.0 (https://creativecommons.org/licenses/by/4.0/). This is an AI-generated explanation of the paper below. It is not written or endorsed by the authors. For technical accuracy, refer to the original paper. Read full disclaimer

Imagine a two-year art workshop where a teacher and a group of students explore a new, powerful tool: Artificial Intelligence (AI). But this isn't a standard class where everyone learns the same steps to get the same result. Instead, the teacher set up a "playground" with low floors (easy to start), wide walls (many different paths to explore), and high ceilings (room to go as deep as you want).

The goal wasn't to make everyone the same kind of artist. The goal was to see what happens when five different students walk through that same playground over two years.

Here is what the study found, explained simply:

1. The Same Tool, Five Different Relationships

Even though all five students used the same AI software (starting with a complex, open-source tool called ComfyUI and later adding other AI tools), they ended up with five completely different ways of thinking about what the AI is for. It's like giving five different chefs the same high-tech oven; one becomes a master of the machine's mechanics, one uses it just to bake bread, and another refuses to use it for the main dish because they believe the "soul" of the food must come from their own hands.

The paper calls these five "positions":

  • The System Architect: One student treated the AI as a co-pilot. She built a complex machine where she and the AI worked together tightly to create a finished art installation. To her, the AI is a partner in the design.
  • The Operations Manual: Another student saw the AI as a helpful instruction book. It knows how the software works and can do the heavy lifting, but the human remains the boss who decides the creative direction.
  • The Conceptual Amplifier: A third student used the AI only for brainstorming ideas and writing text. When it came time to actually build the art, she put the AI away and did the technical work herself.
  • The Ethical Pragmatist: A fourth student felt a moral hesitation. He worried that if he used AI to make the art, he would be "stealing" the AI's ideas. He also found the code AI wrote to be messy and inefficient, so he limited its use to avoid these problems.
  • The Philosophical Bounded: The fifth student believed that true creativity requires a human body and real-life experience. To him, AI outputs are like "dreams"—interesting, but they need a human to bring them into reality. He used AI for brainstorming but kept the final creation strictly human-made.

2. The "Wide Walls" Worked

The teacher's theory was that a flexible environment would produce different results. The study proved this. The students didn't just make different pictures; they developed different philosophies about the technology. The "wide walls" didn't just allow for different projects; they allowed for different ways of thinking about who is in charge: the human or the machine.

3. The "Gap" Between Idea and Reality

The study also found a tricky problem. Sometimes, AI is great at helping you come up with a brilliant idea (the conceptual layer), but it fails to help you actually build it (the realization layer).

Think of it like this: AI can help you write a perfect recipe for a cake, but if you don't know how to mix the batter or use the oven, the cake might still fall flat. The study found four specific reasons why this happens:

  • The Tool Mismatch: Sometimes the AI doesn't know how to help with very specific, visual tools.
  • The Student's Choice: Sometimes a student hears a great suggestion from the teacher but decides to do a simpler version because they aren't ready for the complex one.
  • The Medium Limit: Sometimes the student chooses a tool (like a video game engine) that fits their vision perfectly, even if it looks less "impressive" than a big projection screen.
  • The Silence: Sometimes the student doesn't tell the teacher about a problem they are stuck on, so the teacher can't offer a fix.

4. How the Students Learned (The "Mentorship Mix")

The teacher didn't just give lectures. The study found that the students learned through a "mix" of different types of help, often at the same time.

  • Some students worked with the teacher to build tools.
  • Some students took the teacher's big ideas and narrowed them down to fit their own skills.
  • Some students used the teacher's advice to learn specific vocabulary or ways of thinking about art.
  • Some students used the teacher's guidance to figure out the "big picture" while using AI or online templates to handle the tiny technical details.

5. The "Before and After" Proof

To make sure these ideas were real, the researchers looked at two snapshots in time:

  1. The Start (2024): They asked the students how they thought about the AI tools.
  2. The Finish (2026): They asked the same students again after they had graduated and were working on their final projects.

They found that the students' thinking evolved in five distinct patterns. For example, one student started with a vague idea that AI was like "cooking" and ended up with a very detailed, layered understanding of it. Another student started with no clear idea at all and, through the process, developed a strong, unique philosophy.

The Bottom Line

This paper shows that when you give students a flexible, open environment to play with AI, they don't all become the same. Instead, they naturally sort themselves into different roles. Some become masters of the machine, some become its critics, and some use it only as a stepping stone. The "magic" of the teaching method wasn't in forcing everyone to use the tool the same way, but in creating a space where these five different, valid ways of working could all exist and grow.

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