A carregar...
Publicação
Subversão feminista e “Coautoria Algorítmica” na prática artística com GenAI: Ivona Tau, Stephanie Dinkins e o artefacto autoral in/visibilidades no feminino 3.0
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 1.39 MB | Adobe PDF |
Orientador(es)
Resumo(s)
O artigo propõe uma reflexão crítica sobre a convergência entre arte, tecnologia e género, com foco na análise de práticas artísticas feministas que recorrem à Inteligência Artificial Generativa (GenAI) como instrumento de subversão estética, simbólica e política. A investigação discute as transformações introduzidas pelas linguagens visuais emergentes e o seu impacto disruptivo na desconstrução de narrativas hegemónicas, a partir das obras de Ivona Tau e Stephanie Dinkins, analisando a aplicação da GenAI na ressignificação dos territórios do corpo, da memória e das subjetividades femininas. Enquanto Ivona Tau recorre a redes neurais artificiais e codificação para manipular imagens fotográficas e evocar memórias poéticas que desafiam os padrões normativos estéticos, Stephanie Dinkins integra a GenAI como agente de crítica social, desenvolvendo entidades artificiais alinhadas com comunidades racializadas e promovendo representações inclusivas. Em diálogo com estas referências, apresenta-se o estudo de caso autoral in/visibilidades no feminino 3.0, um artefacto experimental que mobiliza a GenAI como técnica de recomposição simbólica, articulada a processos de mediação cultural crítica e imagética etnográfica. A prática evidencia o potencial da GenAI enquanto ferramenta de “coautoria algorítmica”, colaborativa e simbólica, desafiando os modelos tradicionais de autoria. Ancorada na perspetiva pós-humanista de Donna Haraway (2016, 2022), a proposta valoriza a interação crítica entre humanos, máquinas e organismos como estratégia de cocriação e insurgência estética.
This article proposes a critical reflection on the convergence between art, technology, and gender, focusing on the analysis of feminist artistic practices that employ Generative Artificial Intelligence (GenAI) as an instrument of aesthetic, symbolic, and political subversion. The research discusses the transformations introduced by emerging visual languages and their disruptive impact on the deconstruction of hegemonic narratives, through the works of Ivona Tau and Stephanie Dinkins, analyzing how GenAI contributes to re-signifying the territories of the body, memory, and female subjectivities. While Ivona Tau uses artificial neural networks and coding to manipulate photographic images and evoke poetic memories that challenge normative aesthetic standards, Stephanie Dinkins integrates GenAI as an agent of social critique, developing artificial entities aligned with racialized communities and promoting inclusive representations. In dialogue with these references, the authorial case study in/visibilidades no feminino 3.0” is presented as an experimental artifact that mobilizes GenAI as a technique of symbolic recomposition, articulated through processes of critical cultural mediation and imagetic ethnography. The practice highlights the potential of GenAI as a tool for “algorithmic coauthorship,” both collaborative and symbolic, challenging traditional models of authorship. Grounded in the posthumanist perspective of Donna Haraway (2016, 2022), the proposal values critical interaction between humans, machines, and organisms as a strategy of cocreation and aesthetic insurgency.
This article proposes a critical reflection on the convergence between art, technology, and gender, focusing on the analysis of feminist artistic practices that employ Generative Artificial Intelligence (GenAI) as an instrument of aesthetic, symbolic, and political subversion. The research discusses the transformations introduced by emerging visual languages and their disruptive impact on the deconstruction of hegemonic narratives, through the works of Ivona Tau and Stephanie Dinkins, analyzing how GenAI contributes to re-signifying the territories of the body, memory, and female subjectivities. While Ivona Tau uses artificial neural networks and coding to manipulate photographic images and evoke poetic memories that challenge normative aesthetic standards, Stephanie Dinkins integrates GenAI as an agent of social critique, developing artificial entities aligned with racialized communities and promoting inclusive representations. In dialogue with these references, the authorial case study in/visibilidades no feminino 3.0” is presented as an experimental artifact that mobilizes GenAI as a technique of symbolic recomposition, articulated through processes of critical cultural mediation and imagetic ethnography. The practice highlights the potential of GenAI as a tool for “algorithmic coauthorship,” both collaborative and symbolic, challenging traditional models of authorship. Grounded in the posthumanist perspective of Donna Haraway (2016, 2022), the proposal values critical interaction between humans, machines, and organisms as a strategy of cocreation and aesthetic insurgency.
Descrição
Palavras-chave
Média-arte digital Coautoria algorítmica Artivismo tecnológico Subjetividade feminina Digital media art Algorithmic co-authorship Technological artivism Female subjectivity
Contexto Educativo
Citação
Palma, C., Carvalho, I. C., Tavares, M. N. (2026). Feminist Subversion and “Algorithmic Co-authorship” in Artistic Practice with GenAI: Ivona Tau, Stephanie Dinkins, and the Authorial Artifact in/visibilidades no feminino 3.0. Convergences - Journal of Research and Arts Education, 19(37), 191–204. https://doi.org/10.53681/c1514225187514391s.37.401
Editora
Instituto Politécnico de Castelo Branco