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Memórias do futuro: um diálogo com o passado sustentável
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O projeto “Memórias do Futuro” propõe uma intervenção artística no Sanatório de Mont'alto (Valongo, Portugal), um espaço de ruína arquitetónica e memória cultural. Utilizando fotografias digitais do local, processadas através de inteligência artificial (IA) generativa, foram criados catorze vídeos curtos que reimaginam o edifício abandonado como um cenário revitalizado por princípios de sustentabilidade ecológica. A figura de um boneco Panda, integrada nas imagens, funciona como um agente narrativo que simboliza o cuidado ambiental. A obra manifesta-se num artefacto interativo para tablet e num filme não interativo. Este artigo detalha o enquadramento histórico do sanatório e a metodologia de curadoria humano-máquina do projeto, analisando a obra no quadro teórico da pós-fotografia e do património digital. A experiência da sua exposição in situ é discutida à luz da teoria da Interação Humano-Computador (HCI) e da crise da narração de Walter Benjamin. Adicionalmente, desenvolve uma discussão crítica sobre as implicações desta práxis artística, analisando o deslocamento do conceito de “aura” para o prompt na era da reprodução por IA e confrontando a temática ecológica do projeto com a pegada ambiental da própria tecnologia utilizada (o paradoxo da “Red AI” vs. “Green AI”), estabelecendo um diálogo entre a criação artística e os paradoxos da sustentabilidade digital.
The “Memories of the Future” project proposes an artistic intervention at the Sanatório de Mont'alto (Valongo, Portugal), a site of architectural ruin and cultural memory. Using digital photographs of the location, processed through generative artificial intelligence (AI), fourteen short videos were created that reimagine the abandoned building as a scenario revitalized by principles of ecological sustainability. The figure of a Panda toy, integrated into the images, acts as a narrative agent symbolizing environmental care. The work manifests as an interactive tablet-based artifact and a non-interactive film. This paper details the sanatorium's historical context and the project's human-machine curation methodology, analyzing the work within the theoretical framework of post-photography and digital heritage. The experience of its in situ exhibition is discussed in light of Human-Computer Interaction (HCI) theory and Walter Benjamin's crisis of narration. Furthermore, it develops a critical discussion on the implications of this artistic praxis, analyzing the displacement of the concept of “aura” to the prompt in the age of AI reproduction and confronting the project's ecological theme with the environmental footprint of the technology itself (the “Red AI” vs. “Green AI” paradox), establishing a dialogue between artistic creation and the paradoxes of digital sustainability.
The “Memories of the Future” project proposes an artistic intervention at the Sanatório de Mont'alto (Valongo, Portugal), a site of architectural ruin and cultural memory. Using digital photographs of the location, processed through generative artificial intelligence (AI), fourteen short videos were created that reimagine the abandoned building as a scenario revitalized by principles of ecological sustainability. The figure of a Panda toy, integrated into the images, acts as a narrative agent symbolizing environmental care. The work manifests as an interactive tablet-based artifact and a non-interactive film. This paper details the sanatorium's historical context and the project's human-machine curation methodology, analyzing the work within the theoretical framework of post-photography and digital heritage. The experience of its in situ exhibition is discussed in light of Human-Computer Interaction (HCI) theory and Walter Benjamin's crisis of narration. Furthermore, it develops a critical discussion on the implications of this artistic praxis, analyzing the displacement of the concept of “aura” to the prompt in the age of AI reproduction and confronting the project's ecological theme with the environmental footprint of the technology itself (the “Red AI” vs. “Green AI” paradox), establishing a dialogue between artistic creation and the paradoxes of digital sustainability.
Descrição
Palavras-chave
Generative photography Digital art Urban sustainability Space reuse Interactivity Green AI Red AI Walter Benjamin HCI Post-photography Digital heritage
Contexto Educativo
Citação
Editora
Association for Computing Machinery, Inc