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Hace tiempo, el escritor Ted Chiang describió la producción de ChatGPT como un \"JPEG borroso de toda la red\", una imagen pobre desde un punto de vista semántico. Este resultado generado por aprendizaje automático conlleva una dimensión histórica adicional: la estadística. Las imágenes creadas por IA son representaciones estadísticas en lugar de objetos existentes; desplazan el foco de la indexicalidad fotográfica hacia la probabilidad estocástica. Ya no se refieren a la facticidad, sino a la verosimilitud estadística.

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Mi proyecto examina la herencia colonial y occidental integrada en programas como Stable Diffusion y su relación con la representación simbólica de la Naturaleza. Este lenguaje visual hereda los sistemas de clasificación de las primeras ilustraciones botánicas producidas por museos de historia natural. Las imágenes sintéticas no fabrican realidades; amplifican códigos visuales que históricamente han ordenado y dominado el mundo natural bajo una mirada eurocéntrica.

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Busco subvertir estas taxonomías mediante una práctica que reintroduce perspectivas situadas y encarnadas, imaginando un diálogo entre cosmologías ancestrales y estética post-digital. El trabajo se articula mediante esculturas metálicas que funcionan como soportes físicos para la imagen-archivo. Estas piezas devuelven peso y opacidad a imágenes inmateriales, obligándolas a habitar un cuerpo. Las imágenes se producen mediante morphing, un proceso que simula una metamorfosis fluida entre archivos.

\n\n

En este contexto, la imagen en movimiento recupera la espacialidad del cine primitivo, donde la imagen estaba anclada al dispositivo material. Al revelar el medio como algo táctil y presente, se quiebra su transparencia mágica. Frente a la IA, que funciona como un artificio lingüístico sin resistencia material, estas esculturas posicionan el medio, transformando la estadística en una presencia física ineludible y opaca, revelando los marcos de poder que subyacen a la imagen técnica contemporánea.

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Amanda Triano (Madrid, 1995) explora la transformación de la naturaleza y la materia mediante la escultura, utilizando el hormigón como una superficie geológica que revela la alteridad del mundo contemporáneo. Su práctica examina los vínculos contradictorios entre lo humano y lo natural, tejiendo narrativas cifradas que dialogan con la ciencia ficción, la mitología, el pensamiento indígena y la evolución industrial.

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A través de la escultura, el objeto encontrado y la instalación, Triano evoca movimientos transmutacionales vinculados al territorio y la regeneración. Su obra reflexiona sobre el colapso del tiempo y la obsolescencia, concibiendo la exposición como un ecosistema de interdependencias donde anima lo inerte para generar objetos que operan como conductos de memoria.

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Máster en Arte Multimedia (Lisboa, 2024) y Doble Grado en Bellas Artes y Diseño (Madrid, 2020), ha expuesto en instituciones como el Museo Nacional de Historia Natural de Lisboa, el Centro Cultural de Belém y el Fluxus Museum (Grecia).

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