An/archivism, Chronopoetics, and Experimentation: Transformations of Literary and Artistic Creation in the Era of Generative AI
Proposal Type
Panel
Location
Algorithms & Imaginaries
Start Date
July 2026
End Date
July 2026
Abstract
In the era of generative AI, it is urgent to question and rethink the complex relationships between multiple agents in order to imagine and build new forms of connection and collaboration between human beings and machines. Artificial intelligence, like all technology, does not emerge in a vacuum, but within processes of planetary transformation that intertwine diverse beings, minerals, water, energy, bodies, knowledge, and territories. This panel, made up of six researchers whose work focuses on the digital techno-poetics of contemporary literary and artistic production, aims to discuss the impacts that the latest advances in generative AI have caused in the Latin American artistic field. Specifically, we want to investigate two areas of experimental gestures and operations: on the one hand, the construction and deconstruction of an/archives in the AI era, their role in regional historiography, and their relevance for the creation of a fourth memory, informed by synthetic images (GAN, GPT-4, Stable Diffusion, DALL-E, among others) and texts co/written by machines. We are interested here in works such as Archivo represión (2020), by Mercedes Invernizzi Oviedo (Mecha MIO); (De)composite Collections (2021), by Giselle Beiguelman; The walls know (2022), by Ana Elena Tejera; Un Archivo inexistente (2023-2025), by Felipe Rivas; Sagrada Biblia Artificial (2023), by Estudio San Martín; Requiem diurnus (2024), by Diego Bonilla; Digital Pioneers (2024), by Gustavo Romano. On the other hand, we want to discuss the experimental chronopoetics that express and make visible the gaps of crossed temporalities between creative and perceptive processes of humans and machines. Works such as Do Bots Worry About Writer’s Block? (2016) or In the Beginning Was the Prompt (2024), by Milton Läufer; Unicode (2019), by Michael Hurtado; Canción de Unicode (2017), by Canek Zapata, are aesthetic and critical laboratories that show the divergent logics under which humans and Large Algorithmic Language Models construct incompatible spatio-temporal coordinates. The following questions will guide our discussion: How is the interaction between humans and machines manifested in contemporary writing and artistic creation processes? What processes of subjectivation does the mediation of AI technologies generate? How to redefine cultural archives and temporalities in the era of generative AI? Faced with generative or hybrid artifacts, what are the new forms of reading, perception, and interpretation that are required or emerge? What techno-poetic strategies of resistance, appropriation, or subversion are being developed against the hegemony of these systems?
The dynamics of the panel are as follows: a round of 8-10-minutes presentations by each participant (50-60 min) is followed by an open discussion between the participants and the attendees (15-20 min). Key Words: An/archivism, Artificial Intelligence, Chronopoetics, Experimentation, Latin America
An/archivism, Chronopoetics, and Experimentation: Transformations of Literary and Artistic Creation in the Era of Generative AI
Algorithms & Imaginaries
In the era of generative AI, it is urgent to question and rethink the complex relationships between multiple agents in order to imagine and build new forms of connection and collaboration between human beings and machines. Artificial intelligence, like all technology, does not emerge in a vacuum, but within processes of planetary transformation that intertwine diverse beings, minerals, water, energy, bodies, knowledge, and territories. This panel, made up of six researchers whose work focuses on the digital techno-poetics of contemporary literary and artistic production, aims to discuss the impacts that the latest advances in generative AI have caused in the Latin American artistic field. Specifically, we want to investigate two areas of experimental gestures and operations: on the one hand, the construction and deconstruction of an/archives in the AI era, their role in regional historiography, and their relevance for the creation of a fourth memory, informed by synthetic images (GAN, GPT-4, Stable Diffusion, DALL-E, among others) and texts co/written by machines. We are interested here in works such as Archivo represión (2020), by Mercedes Invernizzi Oviedo (Mecha MIO); (De)composite Collections (2021), by Giselle Beiguelman; The walls know (2022), by Ana Elena Tejera; Un Archivo inexistente (2023-2025), by Felipe Rivas; Sagrada Biblia Artificial (2023), by Estudio San Martín; Requiem diurnus (2024), by Diego Bonilla; Digital Pioneers (2024), by Gustavo Romano. On the other hand, we want to discuss the experimental chronopoetics that express and make visible the gaps of crossed temporalities between creative and perceptive processes of humans and machines. Works such as Do Bots Worry About Writer’s Block? (2016) or In the Beginning Was the Prompt (2024), by Milton Läufer; Unicode (2019), by Michael Hurtado; Canción de Unicode (2017), by Canek Zapata, are aesthetic and critical laboratories that show the divergent logics under which humans and Large Algorithmic Language Models construct incompatible spatio-temporal coordinates. The following questions will guide our discussion: How is the interaction between humans and machines manifested in contemporary writing and artistic creation processes? What processes of subjectivation does the mediation of AI technologies generate? How to redefine cultural archives and temporalities in the era of generative AI? Faced with generative or hybrid artifacts, what are the new forms of reading, perception, and interpretation that are required or emerge? What techno-poetic strategies of resistance, appropriation, or subversion are being developed against the hegemony of these systems?
The dynamics of the panel are as follows: a round of 8-10-minutes presentations by each participant (50-60 min) is followed by an open discussion between the participants and the attendees (15-20 min). Key Words: An/archivism, Artificial Intelligence, Chronopoetics, Experimentation, Latin America
Bio
Carolina Gainza- Universidad Diego Portales- carolina.gainza@udp.cl
Phd in Hispanic Languages and Literature (University of Pittsburgh). Full professor of Sociology and executive director of the MASSI- Conocimientos 2030 project (Universidad Diego Portales). Undersecretary of the Ministry of Science, Chile (2022-2024). Books: "Narrativas y poéticas digitales en América Latina. Producción literaria en el capitalismo informacional" (2018) and "Cartografía Crítica de la Literatura Digital Latinoamericana" (Co-author, 2023). ORCID ID: https://orcid.org/0000-0002-3883-6220
Claudia Kozak - CONICET - Universidad de Buenos Aires/Universidad Nacional de Tres de Febrero - claudiakozak@conicet.gov.ar / claudkozak@gmail.com
PhD in Literature (Universidad de Buenos Aires). Senior Researcher Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET, Argentina). Consultant Professor Universidad de Buenos Aires. Vice-President Red de Literatura Electrónica Latinoamericana (Lit(e)Lat). Member of the Board of Directors of Electronic Literature Organization (ELO). Author of books and essays on electronic literature. Research group site: ludion
Jhoerson Yagmour Figuera - Universidad Católica de Chile - jyagmour@uc.cl
Postdoctoral Researcher at the Institute of Sociology, Pontificia Universidad Católica de Chile. He holds a PhD in Literature from the Pontificia Universidad Católica de Chile and a Master’s degree in Literature from Simón Bolívar University, Venezuela. His research focuses on the study of the problem of time from a multidisciplinary perspective, particularly within the context of contemporary digital culture and artificial intelligence.
Milton Läufer — Independent Artist — miltonlaufer@gmail.com PhD in Spanish and Portuguese Literatures and MFA in Creative Writing from New York University, and degree in Philosophy from the Universidad de Buenos Aires. 2016–2017 Writer-in-Residence at MIT’s Trope Tank. Author of the novels Lagunas (2015), A Noise Such as a Man Might Make (2018), and Los restos humanos (2021). He served as editor of the digital literature magazine Taper (2020–2022). Works: https://miltonlaufer.com.ar
Verónica Paula Gómez - Freie Universität Berlin - veronicapgomez@gmail.com
PhD in Humanities, MA in Comparative Cultures and Literatures, and BA in Literature. Her research focuses on the relationship between poetic/political migrations of digital literature and its interzonal location. Currently Humboldt Foundation Postdoctoral Fellow at the Freie Universität Berlin. Member of the Latin American Electronic Literature Network (Lit(e)lat) and part of the editorial committee of Lit(e)lat Anthology (vol. 2). Her website: https://verogomez.com.ar/
Wolfgang Bongers - Universidad Católica de Chile - wbongers@uc.cl
PhD in Literature and Intermediality (University of Siegen, Germany). Associate Professor at Facultad de Letras, Catholic University of Chile. Director of several national and international research projects. Principal research areas: impact of audiovisual and digital media in Latin American Literature and Culture, Art & Technologies, archives and memories. Author of books and numerous essays in the fields of literary and film critique, cultural studies and the theory of media, https://orcid.org/0000-0001-9269-7324