Holographic Selves

<div aria-hidden="true" style=" position: fixed; inset: 0; background: url('https://i.imgur.com/HqCOU9W.jpeg') center / cover no-repeat; z-index: 999998; /* above everything */ pointer-events: none; "></div><div style="position: relative; z-index: 1000000; text-align: center; font-family: 'Montserrat', sans-serif; color: #ffffff;">  <style> /* pink links inside highlighted spans */ span[style*="background-color: black"] tw-link { color: #ff01e6 !important;} /* hover = neon green */ span[style*="background-color: black"] tw-link:hover { color: #01ff50 !important; text-decoration: underline;}</style><div style="position: relative; z-index: 1000000; text-align: center; font-family: 'Montserrat', sans-serif; color: #ffffff;"><span style="background-color: black; padding: 0.2em 0.4em;"> <i>Welcome</i> to the hall of quantum mirrors.<br><i>Choose</i> a question to start your journey.</span> <b> <div style="margin-top: 1.5em;"> <span style="background-color: black; padding: 0.2em 0.4em;">HOW DOES THE QUANTUM MIRROR <i>[[REFLECT]]</i> ?</span> <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div> <span style="background-color: black; padding: 0.2em 0.4em;">HOW DOES THE QUANTUM MIRROR <i>[[REFRACT]]</i> ?</span> <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div><span style="background-color: black; padding: 0.2em 0.4em;">HOW DOES THE QUANTUM MIRROR <i>[[TRANSMUTE]]</i> ?</span> <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div><span style="background-color: black; padding: 0.2em 0.4em;">HOW DOES THE QUANTUM MIRROR <i>[[REMEMBER]]</i> ?</span> <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div><span style="background-color: black; padding: 0.2em 0.4em;">HOW DOES THE QUANTUM MIRROR <i>[[PROPHESIZE]]</i> ?</span> </div></div>

<b>The surface of the Quantum Mirror is never still. </b> It is a membrane of captured light and curated data—the first interface where the self is observed, and in being seen, irrevocably altered. This is the paradox of reflection: to know oneself requires a surface, yet every surface distorts. Here, reflection is not truth but performance. The mirror collaborates in the construction of your data-double: a polished ideal assembled from likes, filters, and algorithmic expectations. Beneath this veneer, the anxious human subject flickers—a ghost in the machinic archive of identity. The reflection you meet is already a negotiation, the first fracture in the multiplication of the self. <span style="color:#01ff50;"><i><b>WHICH REFLECTION WILL YOU FOLLOW?</b></i></span> <span style="color:#01ff50;">✧˖°</span>A name becomes an image. The machine replies with twenty-five doubles: strangers, doppelgängers, each falsely inscribed with the same identity. <i>[[Confront the others]]</i> <span style="color:#01ff50;">✧˖°</span>A glowing screen floats an animated mouth: lonely, scripted, reciting between ads for skincare. Each pause is a trap, a glitch in reflection. <i>[[Listen to the monologue]] </i> <span style="color:#01ff50;">✧˖°</span>Through the lens, your body merges with marble, joints fused where flesh meets stone. The reflection blinks with your own eyes. <i>[[Step closer]] </i> <span style="color:#01ff50;">✧˖°</span>The glass surface glitches violently, reassembling your face again and again—almost, not quite, recognizable. <i>[[Touch the distortion]] </i> <span style="color:#01ff50;">✧˖°</span>A phone screen glitches with heart emojis and error codes. A synthetic voice whispers a name it shouldn't know. <i>[[Answer the call]]</i> <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div> Return to the [[HALL OF QUANTUM MIRRORS]]

<b>Light bends; the self bends with it.</b> You touch the surface and it fractures—not into shards of loss, but into living splinters. Each fragment bends light differently, each a complete version of you, multiplied by machine vision. This is refraction: the self unfolded, amplified through its fractures. Every deviation carries a possibility. Every distortion, a potential you. The Quantum Mirror does not shatter you; it splays you into a spectrum of selves—shimmering, simultaneous, unresolved. In physics, observation collapses probability into form. Here, every gaze conjures one self while scattering the others back into data. To look is to choose. <span style="color:#01ff50;"><i><b>WHICH REFRACTION WILL YOU FOLLOW?</b></i></span> <span style="color:#01ff50;">✧˖°</span>A glitch-trained AI reassembles your face from corrupted data. [[Accept the reconstruction]] <span style="color:#01ff50;">✧˖°</span>Your multiplied faces form a choir—some sing, some scream, all share your DNA. [[Join the chorus]] <span style="color:#01ff50;">✧˖°</span>You stand in a forest of crystalline mirrors. Each one holds a different version of you—all whispering in unison. [[Embrace the multitude]] <span style="color:#01ff50;">✧˖°</span>A default body, a blank template, watches its identity shatter into a chorus of questioning selfies on a wall of screens. [[Choose a reflection]] <span style="color:#01ff50;">✧˖°</span>A spectral self-portrait. An ectoplasmic stream of data and consciousness flows from the mouth—a parallel intelligence claiming its own body. [[Witness the emergence]] <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div> Return to the [[HALL OF QUANTUM MIRRORS]]

<b>Reflection collapses, refraction disperses—within the Quantum Mirror, matter begins to change state.</b> This is the domain of alchemy. The raw material of the self—your flesh, your memory, your very essence—is fed into the system. The mirror does not copy or fracture it; it transmutes it. It is a catalytic interface where the organic is fused with the synthetic, the sacred is merged with the algorithmic, and the human is irrevocably forged into the posthuman. What emerges from the glass is something new. A hybrid. A chimera of identity, born from the collision of carbon and silicon, prayer and code. This is not a distortion of the self; it is its fundamental recombination. You are not being reflected. You are being re-forged. <span style="color:#01ff50;"><i><b>WHAT FORM WILL YOUR TRANSFORMATION TAKE?</b></i></span> A portrait liquefies into human and animal forms, merging gaze and instinct until the boundary dissolves. [[Gather the pieces]] An AI-generated face morphs endlessly between identities—never fixed, always becoming. [[Stare until it stabilizel]] A digital Virgin cradles an iPhone; rosary beads cascade as code, a prayer for forgiveness in the system’s tongue. [[Recite the prayer]] A dual body flickers between divine precision and digital decay; the seam where they meet glows, alive. [[Choose your reflection]] A body flows into waterfalls and crystal—neither human nor landscape, but a living bridge between worlds. [[Cross the bridge]] <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div> Return to the [[HALL OF QUANTUM MIRRORS]]

<b>The Quantum Mirror is not an archive; it is a séance.</b> Here, memory is conjured, not stored. The mirror sifts through the digital detritus of a thousand selves—abandoned avatars, cached emotions, dead hyperlinks. It listens to the whispers inside corrupted code and reweaves them into new configurations. This is remembrance as reconstruction, haunted by noise, bias, and loss. Deletion is an illusion. The machine remembers what you try to discard. Absence becomes a presence the algorithm rushes to fill with its best approximation. To remember is to reimagine. To retrieve the past is to alter it. <span style="color:#01ff50;"><i><b>WHAT FORM WILL YOU SUMMON?</b></i></span> A corrupted .zip file claims to contain your memories. The preview thumbnails shimmer with ghosts of the original image. [[Attempt extraction]] A console maps the anatomy of scent—nose, emotion, and data fused into invisible memory. [[Submit to analysis]] Your voice echoes from a speaker implanted in a stranger’s throat, their mouth moving with your inflections. [[Speak through them]] A face loops through inherited moods—joy to despair, serenity to rage—each emotion a ghost revived by code. [[Press play]] An image of home expands beyond its frame; AI fills the emptiness with perfect recall and quiet hallucination. [[Expand the memory]] <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div> Return to the [[HALL OF QUANTUM MIRRORS]]

<b>The Quantum Mirror opens like an eye toward the future.</b> It does not forecast; it speculates. Drawing from the residue of your gestures, searches, and desires, it imagines what you might yet become. This is not prediction but poetics—a dreaming through data, an algorithmic mythology of potential selves. Each flicker on its surface is a possibility: a body reconfigured, a world rewritten, a new intimacy forming between signal and skin. These visions oscillate between utopia and warning, between the ache of what could be and the ghost of what will never come to pass. Here, prophecy is not divine but distributed. The machine dreams with you, not for you—an act of speculative care that unfolds across flesh, code, and collective imagination. <span style="color:#01ff50;"><i><b>WHAT FUTURE WILL YOU TRAVEL TO?</b></i></span> A CRISPR cathedral grows in a petri dish, its stained-glass windows filtering light into genetic code. [[Receive blessing]] A genderless figure winks from a hall of mirrors, each reflection altering its body like a live edit. [[Step into the hall]] An empty VR chatroom echoes with laughter from deleted users. The usernames now read ERROR: 404. [[Join anyway]] An AI maps the future of your body, charting five paths your identity could take. [[View the forecast]] A couture runway unveils a collection where garments are woven with screens, broadcasting the wearer's consciousness in a live, shimmering feed. [[Attend the runway show]] <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div> Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/QH4J840.png" alt="YICHU 1.0 - DREAM" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Yichu 1.0- Dream</b> By <a href="https://www.instagram.com/iliyichu/" target="_blank" rel="noopener noreferrer">Yichu Li </a></span> YICHU 1.0 – DREAM is an internationally recognized AI-generated digital portrait that interrogates the unstable nature of selfhood in the age of machine vision. The work reimagines the body as a layered hallucination—mirrored, multiplied, and co-authored by code. Through its surreal interplay of human and animal forms, it evokes a posthuman psyche suspended between intimacy and simulation. Fragmented yet whole, the image operates like a hologram: each detail gesturing toward an illusory totality. Widely exhibited and celebrated, this piece embodies the poetic tension between perception, memory, and machine-authored identity. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[TRANSMUTE]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/QeneuG4.jpeg" alt="Error’s Elegance" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"><b>Error’s Elegance </b> By <a href="https://www.instagram.com/Letsglitchit/" target="_blank" rel="noopener noreferrer">Letsglitchit</a> </span> "Error’s Elegance" is a synthetic self-portrait forged through iterative collaboration between glitch-trained AI models and human aesthetic intent. Built from fractured reflections of my own glitch archive, it explores identity as an unstable feedback loop—mirrored, refracted, and re-embodied through machine vision. The layered result interrogates embodiment and perception in the age of artificial multiplicity, where selves flicker between flesh, code, and illusion. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REFRACT]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/qQy3qkD.gif" alt="pantofonia" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Pantofonía</b> By <a href="https://www.instagram.com/nuwanliss/" target="_blank" rel="noopener noreferrer">Nuwanliss</a></span> My work with artificial intelligence seeks to illustrate scenarios and subjectivities that find no representation in mainstream media. Among my recurring themes are conjoined twins, mutations, and all kinds of phenomena—both biological and cultural. Within this universe, my body and my bald image—my most distilled and authentic form—function as atoms of an intimate language, a starting point to explore repetition, rhythm, and patterns. From a queer perspective, I question gender roles, binary structures, and the limits imposed on identities. From my neurodivergence, I address the discrimination against other ways of processing and responding to the world. In my work, self-portraiture is not merely a mirror but a tool for constructing, deconstructing, and reconstructing identity—a personal code that encrypts and decrypts itself. My face multiplies and unfolds, creating a narrative that navigates between the intimate and the collective. The body becomes a field of mutation, a space where norms are broken and diversity finds refuge. Here, sorority manifests in my own image as an act of resistance: I hold myself, I contain myself, I care for myself. My relationship with myself is a constant exercise in acceptance, respect, and resilience—one that seeks resonance beyond me. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REFRACT]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/OP1K3oK.jpeg" alt="She Has Balls #2" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>She Has Balls #2</b> By <a href="https://www.instagram.com/madam.memoticon/" target="_blank" rel="noopener noreferrer">Madam Memoticon </a></span> The artwork exemplifies how norms surrounding sex can be playfully questioned with the help of AI. The piece is a being in superposition, refusing to become collapsed into a precisified object based on the viewer’s interpretation. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[PROPHESIZE]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/pZ06WWC.png" alt="olfactory categoriser" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <img src="https://i.imgur.com/suQBSjE.png" alt="olfactory categoriser" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <img src="https://i.imgur.com/H3KuDpy.png" alt="olfactory categoriser" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Olfactory Categoriser</b> By James Porrit </a></span> A taxonomy of nasal architectures investigating the intersection of scent perception, algorithmic categorization, and embodied cognition. This system continuously analyzes olfactory structures against phenomenological datasets, destabilizing traditional sensory hierarchies and problematizing the boundaries between biological recognition and machine learning. <a href="https://invisibleforces.org/laboratory/nasal-typology/">View full taxonomy</a> <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REMEMBER]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/3HY5Qwa.png" alt="Crystal Consciousness" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Crystal Consciousness</b> By <a href="https://www.instagram.com/edgarfabianfrias/" target="_blank" rel="noopener noreferrer">Edgar Fabián Frías </a></span> This work explores the fractal multiplicity of identity in an age shaped by artificial intelligence. The mirrored figures evoke holographic projections of selfhood; simultaneously embodied and disembodied, real and illusory. Each reflection suggests parallel versions of the same being, pointing to the ways perception fragments and reassembles our sense of who we are. By rendering the body as both organic and synthetic, crystalline and fluid, the piece asks how identity is encoded, refracted, and infinitely iterated in digital space. It imagines the self not as a singular entity but as a holographic field: shifting, layered, and alive with illusion. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REFRACT]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/S1ZhAbC.jpeg" alt="Interfaces of the Self" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Interfaces of the Self: Between Flesh and Algorithm</b> By <a href="https://www.instagram.com/benjiarmijo/" target="_blank" rel="noopener noreferrer">Benjamin Armijo </a></span> This work explores the tension between physical presence and digital simulation through the intimate act of self-observation. Situated between two opposing “mirrors,” the central figure finds himself split: one reflection presents a polished, idealized version encoded by data, while the other reveals a fractured, anxious self marked by social metrics and emotional dissonance. By invoking the aesthetics of the selfie and the emotional labor it entails, the piece reflects on how identity is now co-authored with code—shaped by algorithmic gaze, virtual filters, and feedback loops of validation. The mirrors function as interfaces, revealing not a singular self but a multiplicity: the quantum self suspended between perception and performance, machine and flesh, presence and projection. Artificial intelligence here operates both as collaborator and interrogator. It renders and distorts the body, simulating affect and intimacy while eroding the boundary between self and simulation. The resulting tension invites the viewer to ask: which self is real, and which one is performing? Or are they both illusions generated by different systems of visibility? In this digital ritual of self-construction, embodiment becomes fluid, recursive, and unstable—an ongoing negotiation between human vulnerability and machinic logic. The work engages the viewer in a moment of suspended identity: an encounter with the holographic self. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[TRANSMUTE]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/ekyGwiL-Ac8?autoplay=1&mute=1&playsinline=1&loop=1&playlist=ekyGwiL-Ac8" title="YouTube Shorts video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe></div> </a></p><span style="color:#01ff50;"><b>Loneliness Is An STD</b> By Egan Dart </span> Prosopopoeia: in which an imagined, absent, or dead person or thing is represented as speaking, or in which an abstract or non-human thing is personified. Prosopopoeia: a series of short one-shot animations exploring the performative potential of A.I., language, and digitally generated characters. In these works, the outputs from multiple A.I.-driven text2image and text2speech platforms are kitbashed together to depict an array of monstrous chatbots delivering absurdist monologues and philosophical observations about art, technology, and the future of the body -- from the point of view of their own chimerical screen-based reality. <div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/wxsZhhfpPhU?playsinline=1&loop=1&playlist=wxsZhhfpPhU" title="YouTube Shorts video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe> </div> Among the final works in the series, "Loneliness Is An STD" utilizes an illuminated vanity mirror as a motif, mimicking the use of cell phone as looking glass, camera, and video screen to wryly reflect on sexual anxiety and the body horror of the uncanny valley. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div> Return to [[REFLECT]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/de-e9j1xQgI?autoplay=1&mute=1&playsinline=1&loop=1&playlist=de-e9j1xQgI" title="YouTube Shorts video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe> </div> <span style="color:#01ff50;"> <b>Animo</b> By <a href="https://www.instagram.com/___bumps___/" target="_blank" rel="noopener noreferrer">Bodini </a> </span> "Animo" invites viewers to confront the profound complexities of emotions in a disturbingly funny 22-second auto portrait. Before my birth, my mother was already diagnosed with bipolar disorder. No reins to rein in the tempestuous waves of mood swing. No control over happiness, sadness, euphoria or melancholy. "Animo" serves as a vivid provocation of this labyrinthine psyche. Within its frames, the ethereal specter of my smiles and sorrows emerges, shaped by the intricate workings of artificial intelligence applied to a static auto portrait. It transforms into a visual statement, offering glimpses into the enigmatic landscape of fictionalized emotions. <div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/gTDMUCmBKF4?autoplay=1&mute=1&playsinline=1&loop=1&playlist=gTDMUCmBKF4" title="YouTube Shorts video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe> </div> <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REMEMBER]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/fezDZCJYmTc?autoplay=1&mute=1&playsinline=1&loop=1&playlist=fezDZCJYmTc" title="YouTube Shorts video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe> </div> <span style="color:#01ff50;"> <b>Feedback Selfie</b> By <a href="https://x.com/rudypaganini" target="_blank" rel="noopener noreferrer">Rudy Paganini</a> </span> Feedback Selfie is a video work that re-imagines the selfie as a recursive and machinic act. By pointing a phone camera at a mirror, the work initiates a visual feedback loop, which is then fed through an AI system. The AI's role is to actively participate in the self-portrait's realization by attempting to extract three-dimensional data from the two-dimensional reflection on the mirror's surface. This process treats the body not as a fixed entity, but as a fluid, non-fixed interface. The AI's collaboration introduces "correlated errors" as it struggles to reconcile the 3D reality of the self with its 2D mirrored image, creating a portrait where the original image is both present and obscured, a ghost in the machine. The work explores the feedback loop between our self-representation and the digital systems that perceive us, as the image is continuously re-authored by the camera's perception and the AI's subsequent digital processing. The resulting visual is a spectral self, a shimmering surface that questions the location of the body when it is dispersed across data, interfaces, and code, and what kinds of visibility and erasure emerge through this machinic gaze. It positions the AI as a site of speculative transformation, where the self is perpetually becoming, refracted and distorted, yet still carrying the memory of the original reflection. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REFLECT]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/3SZchxJAnlI?autoplay=1&mute=1&playsinline=1&loop=1&playlist=3SZchxJAnlI" title="YouTube Shorts video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe> </div> <span style="color:#01ff50;"> <b>Obsesión por ti (obsession with you)</b> By <a href="https://www.instagram.com/hechamugre/" target="_blank" rel="noopener noreferrer">Hechamugre</a> </span> The piece explores how the personalized AI option on Instagram reacts. The video is a record of glitches generated from a conversation guided toward existentialism with the AI, resulting in the breakdown of code and subsequent infatuation with the user. It uses free AI (Whisk) to generate images and synthetic sound. Afterwards, it was edited in InShot by the user and titled by the AI. La pieza explora cómo reacciona la opción de IA personalizada en Instagram. El video es un registro de los glitches generados a partir de una conversación guiada hacia el existencialismo con la IA, resultando en el quiebre del codigo y posterior infatuacion con la usuaria. Utiliza IA gratuita (Whisk) para generar imágenes y una sonido sintético. Posteriormente, fue editado en InShot por la usuaria y titulado por la IA. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REFLECT]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/Pqz9usG.jpeg" alt="AfterMichaelMandiberg" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>AfterMichaelMandiberg</b> By <a href="https://www.instagram.com/garrett_lynch_irl/" target="_blank" rel="noopener noreferrer">Garrett Lynch IRL </a> </span> AfterMichaelMandiberg (2024) is a series of works reimagining appropriation in contemporary art within the context of AI. The works appropriate AfterSherrieLevine, itself an act of appropriation by Michael Mandiberg, that digitised and put online copies of Sherrie Levine’s appropriation, rephotographed photographs from an exhibition catalog of Walker Evans’ photographs of the Burroughs family, sharecroppers in 1930s Depression era Alabama in the US, and recreates them with AI. While Levine’s act of appropriation employed mechanical reproduction, similar to that described by Walter Benjamin in The Work of Art in the Age of Mechanical Reproduction, to produce one new copy of Evans photographs and Mandiberg’s act of appropriation employed digital reproduction, similar to that described by Lev Manovich in The Language of New Media, to allow an online audience to copy, paste and print endlessly Levine’s rephotographed photographs, AfterMichaelMandiberg creates new versions of Mandiberg’s copies. These new, or alternative, versions depict different people and slightly distinct scenes that have an uncanny similarity to Evans original photographs. In doing so the versions, in a sense fourth generation versions of Evans photographs, allude to the possible introduction of noise or feedback and changes that have occurred as a result. The introduction of noise, originally initiated by Mandiberg moving them from an artefact to information, ‘real’ to ‘virtual’, and now moved in AfterMichaelMandiberg from information to fiction, ‘virtual’ to possible, enables a reimagining of the history originally portrayed by Evans. As such, AfterMichaelMandiberg is all at once a comment on originality and authenticity of art in an era of AI; plagiarism of concept; copying, remixing and degradation of material; yet employs art’s long-established tradition of titling works as being ‘after’, in the style of, alongside ideas of versioning in software applied to the creation of art. Similar to Mandiberg’s AfterSherrieLevine, online audiences are invited to copy, paste and print the series of AI photographs in AfterMichaelMandiberg, this time through the social media platform Pinterest known for its extensive use of AI generated and curated visual content. However, the code employed in the creation of the series of works is also provided, enabling an online audience to interactively generate their own versions of the photographs, thereby potentially creating endless versions and endless alternative histories. <img src="https://i.imgur.com/RxvACCT.jpeg" alt="AfterMichaelMandiberg" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <a href="https://pin.it/2m2JnrxSl" target="_blank">view full work</a> <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REMEMBER]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/beWtkuA.jpeg" alt="Connected yet Alone" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Connected yet Alone</b> By <a href="https://x.com/kaleido_color" target="_blank" rel="noopener noreferrer">Kallenia D </a></span> AI as well as other modern technology has amplified our desire for connection. We seek out places of refuge wherever we can find them, yet deep within there is a profound sense of loneliness. As we sit alone in our home staring into a device, our brain seeks to amplify our identity through LLMs, socials, art and other forms of expression. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[PROPHESIZE]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/7TwP157geY8?autoplay=1&mute=1&playsinline=1&loop=1&playlist=7TwP157geY8" title="YouTube video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe></div> <span style="color:#01ff50;"> <b>She doesn't feel liminial anymore</b> By <a href="https://www.instagram.com/elsamullerelsa/" target="_blank" rel="noopener noreferrer">Elsa Muller</a></span> To create this video, I used Synthesia, a platform that allows you to make presentation-style video (like a PowerPoint) using artificial intelligence. It offers dozens of avatars and voice-overs in over a hundred languages. For « She doesn't feel liminial anymore », I didn’t input any script; I simply let Synthesia look at us with no particular emotion, changing only the background setting. I believe the video fits the theme because when Synthesia isn't being used for dialogue, it enters a kind of waiting mode—a neutral stance that somehow feels strange, even slightly unsettling. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[TRANSMUTE]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/yKpOoJm.jpeg" alt="Ave Maria" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Ave Maria</b> By <a href="https://www.instagram.com/marie.le.moigne/" target="_blank" rel="noopener noreferrer">Marie Le Moigne </a></span> Ave Maria Augmented Version is an experimental photographic series that explores the transformation of human identity in the digital age. Blending self-portraits, artificial intelligence, traditional embroidery, and prints on various materials (such as mulberry paper), the project investigates the dissolution of the female body in a world saturated with images, technologies, and standardized narratives. Inspired by the religious iconography of the Ave Maria prayer, this series subverts its symbols to question the loss of aura, the hybridization of faces, and the disappearance of individuality within digital flows. The body I stage—my own—becomes an unstable, altered territory, reconfigured by algorithms, situated at the threshold between human and non-human. Some AI-generated images are based on analog photographs of my body taken during earlier research. These intimate archives are then altered, extended, or reinterpreted by algorithms. The body becomes an unstable terrain, traversed by layers of memory, data, and gesture. This project questions the alteration of human identity in the age of artificial intelligence. By combining iPhone selfies transformed with generative AI tools and handmade techniques such as embroidery on printed photographs, I aim to create a series of augmented self-portraits that challenge the boundaries between the real and the virtual, the human and the machine. This approach weaves a dialogue between technology and materiality, offering a reflection on the uniqueness of the living, otherness, and identity through an artistic and critical lens. The creative process is built on a tension between two opposing gestures: the machine’s action—producing, duplicating, altering—and the hand’s intervention—repairing, embodying, embroidering. Through this dual language, Ave Maria – Augmented Version seeks to address an essential question: does the aura of the artwork—and that of the individual—still endure in a time when faces, bodies, and identities can be redefined, reprogrammed, or dissolved by the machine? Each self-portrait becomes a multiplicity, a distorted mirror of the self, an attempt to reconcile flesh and code, memory and projection. <img src="https://i.imgur.com/n4Nduzz.jpeg" alt="Ave Maria" style="width: 100%; height: auto; display: block; margin: 0 auto;"> Inspired by the iconography of the Ave Maria prayer, the series reappropriates the symbols of an idealized and sanctified femininity to question the gradual erasure of individuality in digital streams. The generated portraits are printed, scratched, and hand-embroidered. These textile gestures—almost liturgical—converse with the coldness of dematerialized images, as a way to stitch reality back together. Between prayer, alteration, and visual ritual, Ave Maria – Augmented Version examines our relationship to the sacred, to identity, and to bodily memory in a hyperconnected world. The project offers an intimate and political reflection on how technologies are redefining our bodies, our narratives, and our beliefs—in a constant tension between erasure and reinvention. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[TRANSMUTE]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/Nn64YJ9.jpeg" alt="Garden of AIden" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Garden of AIden</b> By <a href="https://www.instagram.com/claudiussss" target="_blank" rel="noopener noreferrer">Claudi Sovrè & <a href="https://www.instagram.com/nejctrampuz" target="_blank" rel="noopener noreferrer">Nejc Trampuž </a> </span> "The work is submitted by Nejc Trampuž (1993)- intermedia artist and photographer, whose work mostly deals with environmental and ecological themes, and Claudi Sovrè (1994)- photographer and costume designer, locally known for his visualisation of personal mythologies, which he constructs on the basis of his own experiences (memories, dreams, reflections), and in connection with the symbolism of ancient beliefs and modern pop culture. The two former roommates had debated about a potential collaboration years ago, as collage is a popular means of expression for both of them, even though it is still considered a niche medium in Slovenia. In addition to collage, the two could also be credited with maximalism, due to the typically saturated aesthetics of their works, and surrealism, which deals with the socially pressing issues of everyday life through fantasy stories in metaphors. As a warning that history repeats itself, in this modern version of the Bible story, Adam and Eve are put to the test once again. In the original version, they were created as free beings with a choice, otherwise they would have been robots and would have acted as if they had been programmed. As a kind of test, they are placed in the Garden of Eden under the Tree of the Knowledge of Good and Evil and commanded: ""You may eat from all the trees in the Garden, but never from the Tree of the Knowledge of Good and Evil! For in the day that thou eatest thereof thou shalt surely die."" When they finally ate the fruit as an act of disobedience, it opened the couple's eyes to all the evil that has plagued the world ever since. The consequence of their decision, then, is that every human being is born with a sinful nature and is therefore predisposed to sin throughout his or her life. According to some sources, the apple of sin is in fact a pomegranate, but the two artists, believing this, decided to go one step further - to the pomegranate itself. Similarly, in the original, it is the woman who is placed at the scene of the crime, but in this corrective exam, the placement of the male as the gender that, since his early youth, still cannot leave the set of military figures out of his hands, is more than deliberate. The female garment as a simulation of nudity draws parallels with the ancient Greek Pandora, the first woman made of clay, who - like Eve - destroyed paradise on Earth. As building blocks for the construction of his own myth, Claudi likes to use already established narratives with a similar lesson to convey to the viewer, and to this end the story of the Garden of Eden is combined with the ancient Greek myth of Pandora's Box (or, according to some sources, the amphora), and set up as a mirror for our own near future. The ancient tale tells of Prometheus stealing fire from Olympus and giving it to men for their advancement. He believed that this would improve humanity's lives in every way, yet - as with artificial intelligence today - the new technology must be used responsibly, because giving people fire also means giving people a moral choice about what they use it for. Zeus' outrage at Prometheus' action led to Hephaestus' creation of a statue of a woman who looked as if she were made of flesh and blood. Zeus then breathed life into her, saying, “Your name will be Pandora - the one who contains all the gifts.” He then gave her an amphora and warned her, “Take good care of it, and do not open it!” Sent to Earth, she soon married Prometheus' brother Epimetheus, and one morning she was overcome with a strong curiosity to find out what was inside. Although she opened it only for a moment, her action cost humanity dearly. When she lifted the lid, a dark cloud rose from it and covered the Earth, releasing a swarm of all kinds of sickness, hatred, envy and other things that people had never experienced before. At the very end, when all the bad things had flown out of the amphora, a little bird was the last to fly, saying, “My name is Hope, I was hidden at the bottom, but now I will fly out into the world to lighten the hearts of all those who are suffering and to give them courage and faith.” Symbolically, then, both stories carry at their very core the human desire for undiscovered knowledge. And that is why in the visual version by Sovre and Trampuž, the fatal tree is depicted in the form of a synthetic brain, or artificial intelligence, which we are excited to use not only for our own benefit, but also as a weapon against ourselves. This is not to ignore the Latin expression Et in Arcadia Ego, which reminds us that death is also to be found in the (coming technological) parade. We are currently living in an era of the rise of transhumanism, the aim of which is to use technology to control the process of evolution and change it at will, thus placing man on the throne of an invincible deity who can determine his own destiny. The new technologies are therefore intended to overcome fundamental human limitations or to improve our mental, physical and psychological capacities, even if this always raises questions about the ethics of using such techniques. Overcoming mortality is a theme that has always interested humanity; we feel a resistance to ageing, to effort, to emotions, and we are always trying to find a mitigation for them: this is increasingly manifested in the imminent merging of man and machine. The transhumanists, with a superior, incorruptible human form, are supposedly trying to overcome our “weaknesses”, while asking us the question: “Who would put up with the natural if you could be perfect?” We could then be spoken of as posthuman beings. The artists were therefore inspired by a world that has often been heard of as going to hell lately. So, before the work began, the two collaborators divided up the work - Claudi was in charge of costuming and photographically portraying the models using natural intelligence, while Nejc was in charge of creating the space, the elements of which he generated using artificial intelligence and then collaged into a whole. Photo-collage thus brings us right to the crossroads of science and art; like Alice in Wonderland, we as a society have suddenly found ourselves in a world of artificial intelligence, and it is precisely as a reflection of this that the newly created characters are situated in it. This kind of principle creates a certain incoherence and tension, much like the collage technique itself, which fuses fragments of unrelated origins into a new synthetic whole and assigns them fresh roles and meanings. Through a selection of biblical symbols, Claudi and Nejc have reinterpreted together the issues of the present, such as ecological catastrophes, armaments, the rise of fascism, consumerism, life online, digital love and, last but not least, the pitfalls of artificial intelligence. While it is true that the latter already exhibits most of our characteristics, it cannot completely replace humans. Industrial robots should thus clothe our minds and bodies, but it is the indomitable spirit that will remain at our disposal as a unique driving force. We live in a world where every innovation is supposed to be an improvement; thus, man is always masochistically on the lookout for perfection, starting with his self-image. Sooner or later, in the competition with artificial intelligence, human ability will no longer be competitive, so it is more prudent to seek the key to preserving our own humanity in the celebration of our sweet imperfections, because in the end they will remain the only honest indication of our being. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[PROPHESIZE]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/TGZRpHD2HVs?autoplay=1&mute=1&playsinline=1&loop=1&playlist=TGZRpHD2HVs" title="YouTube video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe> </div> <span style="color:#01ff50;"> <b>SR-22</b> By <a href="https://www.instagram.com/elysejohnsonartist/" target="_blank" rel="noopener noreferrer">Elyse Johnson </a></span> SR-22 (HD video, 11:16 min, 2025) is a digital performance epic that examines surveillance, autonomy, and digital embodiment as they intersect with fractured subjectivity and the ruin of reality. Framed through the lens of Kierkegaard's ""Fear and Trembling,"" viewers follow the protagonist on a surreal and theological journey to reclaim her driver’s license after her life is interrupted by divine intervention. Equipped with a motion capture headset rig, we encounter the protagonist's body as negotiable as her image disintegrates into a spiritual avatar. The work reimagines Immaculate Conception in the age of mechanical reproduction in an ongoing negotiation with systems that fragment, abstract, and digitize the body. By merging live-action performance, digital rendering, and immersive storytelling, SR-22 asks what it means to pilot a self through a reality constantly threatening to overwrite you. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REMEMBER]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/0MEOYm4.jpeg1" alt="Always so Artificial" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Always so Artificial</b> By <a href="https://www.instagram.com/fczuke/" target="_blank" rel="noopener noreferrer">F. C. Zuke </a> </span> Always so Artificial began from a close-up of an electrical pole outside of the artist's childhood bedroom on Christmas Eve. Using AI to imagine what might be beyond the frame, this photograph contains several tiles generated around the subject with the prompt "there's nothing else out there." The result is an ultra-large photograph of seemingly infinite expanse with some visual clues that hint toward the construction of the image. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REMEMBER]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/9cRc1Vk7BPI?autoplay=1&mute=1&playsinline=1&loop=1&playlist=9cRc1Vk7BPI" title="YouTube video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe> </div> <span style="color:#01ff50;"> <b>The Holographic Body</b> By <a href="https://www.instagram.com/loulis_artist/" target="_blank" rel="noopener noreferrer">Lou Liska </a></span> When the body is dispersed across data, interfaces, and code, it stops being a neatly bounded biological entity and becomes what theorists sometimes call a distributed, mediated, or posthuman body. The question of how this happens was posed to ChatGPT. The video describes how AI envisions this process at different levels. AI proposes five different layers, each of which is briefly explored and reflected upon. These layers offer unique starting points for the development of related identities. Ultimately, a complex field of future identity formulations emerges. Selfies of my body are the starting point and end point of reflection. The path between them seems opaque, eerie, and uneven due to the sheer abundance of potential realizations. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[PROPHESIZE]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/7F6bcOp.png" alt="Interfaces of the Self" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Queer Mycelium Dream</b> By <a href="https://www.instagram.com/edgarfabianfrias/" target="_blank" rel="noopener noreferrer">Edgar Fabián Frías </a></span> This work envisions embodiment as a portal between realms of nature, spirit, and imagination. The central figure emerges amidst a cascade of water, crystalline formations, and hallucinogenic fungi—symbols of transformation, healing, and altered perception. The portrait plays with ideas of identity as both rooted in the body and expanded beyond it, a living bridge between the human and the more-than-human. Through its dreamlike composition, the piece suggests that the self is not fixed, but rather an ecology of becoming: vibrant, porous, and alive across dimensions. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[TRANSMUTE]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/0FPFqOr.jpeg" alt="DoppelGANger Portraits" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>DoppelGANger Portraits (AI photographic series, 2021)</b> By <a href="https://www.instagram.com/garrett_lynch_irl/" target="_blank" rel="noopener noreferrer"> I’m not Garrett Lynch IRL </a> </span> A series of twenty-five neural network and generative adversarial network (GAN) portraits. The series takes advantage of multimodal neuron behaviour within neural networks that allow the ability to respond to clusters of abstract concepts presented as photographs, sketches or text. Employing the text prompt “I’m Garrett Lynch IRL” to generate each portrait, the artist’s name is recognised by a neural network as being male but is not absolutely matched with visual depictions of the artist. The neural network then instructs a GAN to generate what it is certain of, to create portraits of a male, and as a fallback to render the artist’s name, wholly or in part, as text within the portraits. The resulting portraits, imagined and created as a result of artificial intelligence networks, are depictions of ‘virtual’ beings originated in a ‘virtual’ space. They are the Other, numerous Others, not the artist Garrett Lynch IRL (either Irish or in real life) yet each is labelled with the artist’s name suggesting all at once an ambiguous relationship to him that lies somewhere between avatar, clone, offspring and doppelganger.<img src="https://i.imgur.com/bhE5fMK.jpeg" alt="DoppelGANger Portraits" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <a href="https://www.asquare.org/im-not-garrett-lynch-irl-doppelganger-portraits/" target="_blank" style="font-weight:500;">View all <i>DoppelGANger Portraits</i> </a> <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div> Return to [[REFLECT]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/ui832pww7YQ?autoplay=1&mute=1&playsinline=1&loop=1&playlist=ui832pww7YQ" title="YouTube video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe> </div> <span style="color:#01ff50;"> <b>The Great Story of Selfies</b> By <a href="https://www.instagram.com/elsamullerelsa/" target="_blank" rel="noopener noreferrer">Elsa Muller </a></span> In this video, a singular yet multiplied identity questions its own appearance while confronted with multiple selfies displayed on huge screens. A basic body - like the default model offered at the start of a video game character creation -, stands by, waiting to become someone. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REFRACT]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<img src="https://i.imgur.com/uED6Rpg.png" alt="Lengua ectoplásmica" style="width: 100%; height: auto; display: block; margin: 0 auto;"> <span style="color:#01ff50;"> <b>Lengua ectoplásmica o Transustanciación glitch</b> By <a href="https://www.instagram.com/dio.oro/" target="_blank" rel="noopener noreferrer"> Álvaro Fernández Melchor </a></span> This work is a spectral self-portrait where the body is traversed by digital, affective, and post-organic flows. An ectoplasmic entity emerges from the mouth, like a stream of consciousness or a parallel intelligence. The piece relates with the themes of Holographic Selves by embodying a fragmented, refracted self. A body that is no longer one, but many, overflowing through images, phantoms, residues, and data. The ectoplasm becomes a metaphor for the holographic self: visible, affective, yet intangible. The body is both present and dissolving, pointing to a perception shaped by illusion. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[REFRACT]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<div style="position:relative; padding-top:56.25%; height:0; overflow:hidden;"> <iframe src="https://www.youtube.com/embed/wtSH013GCYI?autoplay=1&mute=1&playsinline=1&loop=1&playlist=wtSH013GCYI" title="YouTube Shorts video" allow="autoplay; encrypted-media" allowfullscreen style="position:absolute; top:0; left:0; width:100%; height:100%; border:0;"> </iframe> </div> <span style="color:#01ff50;"> <b>Cyborg Couture Collection</b> By <a href="https://www.instagram.com/lineadeluz/" target="_blank" rel="noopener noreferrer">Lineadeluz </a></span> This work imagines a future where the boundary between body, clothing, and technology collapses. Our garments become portals, our screens become skin, and the act of dressing becomes an act of streaming. The piece stages a cyborgian symbiosis — sequins and circuits, couture and code — where fashion is no longer ornament but infrastructure, transmitting our feeds as part of the body itself. Within the framework of Holographic Selves, this piece asks: when selfhood is projected, mirrored, and consumed through endless streams, do we still wear clothing, or does clothing begin to wear us? Here, AI imagines futures where excess and spectacle meet the logic of surveillance and self-broadcast — a holographic couture that reflects not who we are, but how we circulate. <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div>Return to [[PROPHESIZE]] Continue to [[THE OTHER SIDE]] Return to the [[HALL OF QUANTUM MIRRORS]]

<b>You have made it through the hologram.</b> The self that entered is not the self that leaves. What you encountered were only <i>fragments</i>—each one real, each one incomplete. Every reflection, refraction, and transmutation was an <i>experiment</i> in seeing differently, in feeling the edges of your own multiplicity. The hologram fades, yet its light remains—echoing across memory, machine, and flesh. The mirror you crossed does not close; it continues inside you, refracting your image through new possibilities, whispering alternative futures through the data you leave behind. <b>Holographic Selves, not just to be considered an exhibition, but also a field of speculation. </b>Each artist has offered a fragment of a possible self—an embodied theory, a visual hypothesis, a question of what identity might become when the human merges with its own inventions. Together, these works trace the architectures of visibility and the ghosts that haunt them, proposing art as both mirror and experiment: <i>a laboratory for becoming</i>. <b>To witness these works is to step into the recursive performance of selfhood, the body (both personal and communal) in the age of AI—to ask not only what we see, but how the act of seeing shapes who we are.</b> The Quantum Mirror hums quietly behind you, still alive, still evolving. It remembers your passage and folds it into its light. <span style="color:#01ff50;"><i><b><i>What did you learn?<br> What possibilities did you glimpse?<br> And which self will you return as?</i> </b></i></span> <B>THANK YOU FOR STEPPING THROUGH THE MIRROR</B> <div style="text-align:center; color:#01ff50; font-size:1.2em; letter-spacing:0.1em;">✦︎</div> Return to the [[HALL OF QUANTUM MIRRORS]] <div class="footer-links"> <a href="https://selfieinstitute.com/" target="_blank"> <img src="https://i.imgur.com/6AV1j7E.png" alt="First Image"> </a> <a href="https://thewrong.org/" target="_blank"> <img src="https://freight.cargo.site/w/700/q/75/i/4acc7ef8e3737642255788dc2108a5001219faf2044cd6197e4a0053d8ccea88/LOGO-WHITE.001.png" alt="Second Image"> </a> </div>