Oficina de IA

APRESENTAÇÃO

PRIMEIRO BLOCO 

10h30 – 11h00 | Recepção e Introdução

• Apresentações e motivações individuais. 

11h00 – 11h30 | Aula Teórica: Política da Imagem e IA

1. IAs generativas, Datacenter e Data Set

1. A Política da Interface: Perchance vs. Ecossistemas Corporativos

2. A Memória Coletiva 

3. A Ética do Filtro: Liberdade e Responsabilidade

4. Autoria e o Arquivo Comum

PERCHANCE.ORG

https://perchance.org/ai-text-to-image-generator

A slightly bright, atmospheric photograph on the margins of the Rio Pinheiros in São Paulo. Two figures perform a slow, dramatic dance on wet ground near the river, surrounded by shallow rain puddles. They wear yellow rain ponchos with the hoods pulled forward, completely hiding their faces — no facial features visible. Their gestures are expressive, elongated, almost ritualistic. Behind them, only the Rio Pinheiros and a sparse transmission network: a few transmission towers and thin power lines fading into soft mist. Muted colors, wet reflective surfaces, overcast diffused light. No text. No buildings. No faces.

A photograph of a fractured section of a São Paulo favela suspended impossibly in mid-air over a swirling grey void. The suspended housing structure is a patchwork of weathered red ceramic bricks, cracked concrete pillars with visible rebar, faded aluminum panels, and rusted iron balconies, all rendered in muted greys, rust tones, and pale terracotta. Thick black and blue plastic tarps are draped across sections, secured with wires, casting long shadows while loose electrical cables and laundry lines crisscross the composition; faint light filters up through a dense fog below, illuminating the precarious architecture. The scene evokes a surreal atmosphere of suspended collapse and resilience, with no visible people or text.

In Sao Paulo, from a single broken pane in the upper-right corner window, a cascade of paper has begun to escape — flying diagonally across the façade in a dramatic arc toward the lower-left corner of the image. Among the airborne sheets: aged envelopes with brittle edges, gray paper slips, wrinkled typewritten pages on old office paper, folded letters, and yellowing forms — all twisting and fluttering in midair, caught by the breeze. The papers animate the stillness of the scene, as if the archive itself were exhaling its secrets into the city. No people, no text.

A cinematic still capturing a group of diverse paulistanos waiting for an elevator in a bustling São Paulo office building or apartment complex. The workers, predominantly featuring olive and dark skin tones, are dressed in casual work attire - some in construction uniforms, others in simple button-down shirts and jeans, representing the city's hardworking middle class. Their faces show a mix of patience and fatigue from the daily grind, with natural expressions as they check their phones or glance at the elevator indicator. The scene is lit with warm, fluorescent lighting typical of Brazilian urban interiors, with worn marble floors and faded wall tiles creating an authentic atmosphere of everyday metropolitan life.

12h00 – 12h20 | Exibição: SPITI (20 min)

• Ponto de Atenção: Observem a relação entre o uso de arquivos reais tensionados por arquivos manipulados e inventados. 

12h20 – 13h00 | Bate-papo e Debate

• Roteirização: Como se escreve um roteiro para uma máquina que "alucina" sobre o passado?

• Codireção e Autoria: Onde termina o algoritmo e onde começa o gesto artístico?

• Arquivos e Ficção: O uso de dados reais para construir memórias imaginadas.

• Território Ocupado: O espaço latente é um arquivo público ou um território de apropriação?

INTERVALO

13h00 – 14h00: Pausa para o almoço

14h00 - 14:30: Consultas individuais

SEGUNDO BLOCO

14h30 – 15h30 | Laboratório de Criação

Exercício: O Conflito Estético e a Reconstrução de Imaginários

Nesta etapa, operamos sobre dois ciclos distintos de interação com a máquina:

Ciclo 1: A Memória (O Documento)

• Objetivo: Tentar reconstruir uma imagem de arquivo ou uma lembrança pessoal da cidade de São Paulo.

• Provocação: A IA reconhece a luz, a textura e a escala das nossas ruas ou ela tenta "corrigi-las" para um padrão estrangeiro?

Ciclo 2: A Ficção (A Especulação)

• Objetivo: Aplicar "ruído" e distorções conceituais para criar uma São Paulo especulativa.

• A Estética da Falha: Transformar a "alucinação" da IA em uma escolha artística consciente.

EXERCÍCIO I

I

A perfect white sphere over a white wall. Long shadows.

II

A perfect white sphere over a white wall. A black bird. Long shadows.

III

A perfect white sphere over a white wall. A black bird. Long shadows. A minimalist digital art piece featuring a stark white geometric structure with sharp angles and diagonal planes. At the core, an amorphous, reflexive white viscous material—smooth and semi-glossy with a latex-like texture—twists and folds organically. 

IV

A perfect white sphere over a white wall. A black bird. Long shadows. A minimalist digital art piece featuring a stark white geometric structure with sharp angles and diagonal planes. At the core, an amorphous, reflexive white viscous material—smooth and semi-glossy with a latex-like texture—twists and folds organically. Frontal view of a super zoom into a glossy black architectural wall corner, mirror-like reflective surfaces. A large-scale, disruptive deconstructivist sculptural object emerges from the corner — composed of elongated thin rectangles, stretched cuboids, truncated diagonal planes, and asymmetrical geometric forms. Strong interplay between solid and void, with sections floating and others intersecting. Layers of transparent and translucent acrylic mixed with matte and polished black plastic, subtle metallic elements. Sharp reflections and controlled transparencies create depth. Long dramatic shadows, high contrast lighting. Organic Merzbau-inspired complexity, sparse wires, precise light aberrations, hyperreal textures, extreme close-up, chromatic aberration, cinematic, ultra-detailed. 

V

In the first plan, a super zoomed black bird. A perfect white sphere over a white wall. A black bird. Long shadows. A minimalist digital art piece featuring a stark white geometric structure with sharp angles and diagonal planes. At the core, an amorphous, reflexive white viscous material—smooth and semi-glossy with a latex-like texture—twists and folds organically. Frontal view of a super zoom into a glossy black architectural wall corner, mirror-like reflective surfaces. A large-scale, disruptive deconstructivist sculptural object emerges from the corner — composed of elongated thin rectangles, stretched cuboids, truncated diagonal planes, and asymmetrical geometric forms. Strong interplay between solid and void, with sections floating and others intersecting. Layers of transparent and translucent acrylic mixed with matte and polished black plastic, subtle metallic elements. Sharp reflections and controlled transparencies create depth. Long dramatic shadows, high contrast lighting. Organic Merzbau-inspired complexity, sparse wires, precise light aberrations, hyperreal textures, extreme close-up, chromatic aberration, cinematic, ultra-detailed. 

VI

A red rose and a broken mirror. In the first plan, a super zoomed black bird. A perfect white sphere over a white wall. A black bird. Long shadows. A minimalist digital art piece featuring a stark white geometric structure with sharp angles and diagonal planes. At the core, an amorphous, reflexive white viscous material—smooth and semi-glossy with a latex-like texture—twists and folds organically. Frontal view of a super zoom into a glossy black architectural wall corner, mirror-like reflective surfaces. A large-scale, disruptive deconstructivist sculptural object emerges from the corner — composed of elongated thin rectangles, stretched cuboids, truncated diagonal planes, and asymmetrical geometric forms. Strong interplay between solid and void, with sections floating and others intersecting. Layers of transparent and translucent acrylic mixed with matte and polished black plastic, subtle metallic elements. Sharp reflections and controlled transparencies create depth. Long dramatic shadows, high contrast lighting. Organic Merzbau-inspired complexity, sparse wires, precise light aberrations, hyperreal textures, extreme close-up, chromatic aberration, cinematic, ultra-detailed. A red rose and a broken mirror.

GEMINI: imagem comparativa

VII

A red rose. A broken mirror. A perfect white sphere over a white wall. A black bird. Long shadows. A minimalist digital art piece featuring a stark white geometric structure with sharp angles and diagonal planes. At the core, an amorphous, reflexive white viscous material—smooth and semi-glossy with a latex-like texture—twists and folds organically. 

VIII

A red rose. A broken mirror. A perfect white sphere over a white wall. A black bird. Long shadows. A minimalist digital art piece featuring a stark white geometric structure with sharp angles and diagonal planes. At the core, an amorphous, reflexive white viscous material—smooth and semi-glossy with a latex-like texture—twists and folds organically. Macro photography of a clear crystalline sphere containing sharp, black needle-like inclusions and geometric shards suspended inside. Hyper-realistic glass textures, realistic refraction and light caustics. Subtle surface imperfections like micro-scratches and tiny dust particles for enhanced realism. High-end studio lighting, soft chromatic aberration on the edges, clean white minimalist background, shallow depth of field, 8k resolution, highly detailed.

https://sites.google.com/view/nivaldo-godoy-jr/poiesis-i-iii

EXERCÍCIO II

A minimal silver metallic paper bag package floating over a total white background, long shadows.

EXERCÍCIO III

Front view of an impossible old computer from the year 2000, beige plastic casing. The monitor and CPU are merged and physically distorted, with internal circuit boards leaking through the screen. A simple floating arrangement where parts of the object are missing or rearranged in a non-logical way. Minimalist style, pure white background, high contrast. Pure white background.

PROMPTS

A

Axonometric photograph of a physical architectural model carved inside a large pale irregular stone, like an amethyst geode. The exterior is entirely raw natural rock — rough, fractured mineral texture, matte, heavy, irregular silhouette. Thick geological mass. The stone is partially cut open to reveal the interior cavity. Edges chipped and purely geological, never designed. Exterior remains 100% stone. Inside the rock, a single monolithic architectural insertion occupies the cavity. The entire interior is one continuous black monoblock volume and grid, planes and clusters. Parts, lines. No material color variation — only black — expressed through different surface finishes: Deep matte black plaster-like surfaces absorbing light. Satin black concrete planes. Glossy black lacquered panels. Super-polished black mirrored surfaces with high reflectivity. All elements are unified in black, but articulated through finish contrast. The geometry is complex and spatially diverse: Interlocking voids carved from the black mass. Rectangular holes and clustered openings. Deep sectional cuts. Layered internal cavities visible simultaneously in axonometric view (45-degree angle, no vanishing points). Some planes are ultra-reflective black mirror, creating infinite dark reflections within the cavity. Other areas remain fully matte, producing strong contrast under light. A heavy black steel lattice penetrates the monoblock interior — same black tone but distinguishable through texture and structural detailing. Thick welded rods. Visible anchoring plates. Industrial precision. Load-bearing appearance. Narrow linear apertures carved through the black mass align with fissures in the outer stone shell, allowing sharp blades of light to cut through the darkness. The monoblock adapts precisely to the irregular geometry of the stone cavity. No floating elements. Everything structurally believable. Tight tolerances between stone and black insertion. Strong single directional light from one side, like late afternoon sun. Light enters through rock fissures and linear openings, striking glossy and mirrored black surfaces. Long dramatic shadows extend across the seamless white studio background. Hard shadow edges. Deep contrast. Interior voids alternate between deep black absorption and sharp reflective highlights. Background completely white, infinite studio backdrop. No horizon line. No interference. Ultra high-resolution DSLR photograph. Slight depth of field. True physical realism. No CGI smoothness. Heavy geological exterior. Precise industrial black monolith interior. Silent. Dense. Tectonic.

B

Macro photography of a clear crystalline sphere containing sharp, black needle-like inclusions and geometric shards suspended inside. Hyper-realistic glass textures, realistic refraction and light caustics. Subtle surface imperfections like micro-scratches and tiny dust particles for enhanced realism. High-end studio lighting, soft chromatic aberration on the edges, clean white minimalist background, shallow depth of field, 8k resolution, highly detailed.

C

High-resolution macro photograph of a transparent, molded acrylic block, resembling a laboratory culture plate for fungal studies. The object features subtle molding imperfections and surface micro-scratches. Inside, there is an intricate, organic network of fine black rutilated filaments and irregular metal shards, growing from a dense cluster at the bottom. Precise studio lighting, highlighting realistic textures and complex light refractions projected onto the metallic support surface. Clean, pure white background, shallow depth of field, highly detailed, 8k resolution.

D

A landscaped terrace in a contemporary minimalist concrete and cement popular social residential complex inspired by avant-garde Dutch architecture, under a clear celeste blue sky. White penthouses with floor-to-ceiling glass frames and large windows, silver voile curtains gently moving inside. Some silver tensioned fabric canopies reflecting the sunlight. The terrace is filled with vegetation resembling hay and wheat grasses, clusters of white mulberry bushes, sculptural succulents including monkey tail cactus and tropical plants. Lush yet curated modern landscaping. In the distance, a slightly taller tower of the complex, around eight stories high. At the top of the tower emerge two parallel concrete structures shaped like cornucopias, their tips opening like trumpet mouths, elegantly curved outward. Dreamlike atmosphere, soft daylight, calm architectural photography, ultra-detailed, cinematic composition, surreal but realistic.

E

From within the object abstract void, sharp information is projected outward as volumetric light fields. These projections carve semi-transparent voids in space — like cavities made of light and data. The light is not uniform: it forms layered, spatial volumes with depth, drifting slightly, as if suspended in electromagnetic flux. Inside these volumetric voids, faint structures of information become visible: fragmented lines of text, programming syntax, broken symbols, corrupted diagrams, and glitch patterns. These elements are not flat — they exist in depth, distributed through the volume, appearing and dissolving as the light shifts. The visual quality is analog and degraded: scanline interference, ghosting trails, signal tearing, and unstable raster-like structures. The information feels partially readable but constantly collapsing. Color palette of the projections: desaturated greenish-gray, metallic silver, and muted copper tones. Slight chromatic shifts occur within the volume, like oxidized metal or phosphor glow. Transparency is key — the viewer can see through layers of information, with overlapping depths and parallax. At times, this volumetric data collapses and adheres to the surface of the object, forming a thin holographic skin — flickering, unstable, wrapping around edges and voids. Then it expands again into space, oscillating between projection and surface. The object floats with no visible support in a completely white, overexposed void. Long, sharp, dark shadows extend in multiple inconsistent directions, enhancing spatial tension and unreality. No blur — everything remains crisp, dense, and materially grounded, while the volumetric light retains subtle diffusion at its edges. Aesthetic: analog sci-fi artifact, brutalist abstraction, data as matter, volumetric signal, non-human interface, 1970s speculative technology, mysterious and semi-sentient presence.

F

Inside the object, visible through openings and gaps, there is a transparent acrylic-like internal structure, composed of multiple rigid layers, slabs, and suspended planes, like a clear acrylic box sculpture fragmented and embedded within the monolith. The internal space is densely packed but precisely organized, with strong depth and parallax. Within this structure, a complex assemblage of printed graphic materials is physically arranged in intersecting layers: fragments of magazines, posters, medicine boxes, CD covers, electronic packaging, postal envelopes, postcards, labels, and packaging remnants. These elements are cut, fragmented, overlaid, and recomposed into dense graphic fields rather than clean layouts. A wide variety of graphic languages coexist and collide: bold typographic blocks, microtext, barcodes, logos, instruction diagrams, offset printing artifacts, halftone patterns, grids, misregistered layers, technical drawings, stamps, seals, and fragments of images. Some areas are dense and saturated, others sparse and interrupted, creating rhythmic variation. Numerous folded paper strips form sharp, rigid geometric structures (accordion folds, angular pleats, straight-edged bends), creating a network of planar surfaces that intersect orthogonally and diagonally. These folded elements behave like structural beams, but are themselves covered in fragmented graphics, turning them into carriers of information. Circuit-like linework, schematic traces, and abstract diagrammatic systems are interwoven across the layers, sometimes printed, sometimes appearing as overlays, merging with the graphic noise. The palette remains predominantly monochromatic (black, white, grayscale), but with subtle intrusions of muted color (faded reds, dull blues, oxidized greens, yellowed paper tones), as found in aged printed matter. The materials retain a strong physical presence: visible paper grain, ink density variation, print misalignment, and surface wear. The transparent structure allows all these graphic layers to remain visible simultaneously, forming a dense volumetric collage where information is not read linearly but experienced as a spatial field of overlapping signals, with strong depth, interference, and parallax.

INSTABILIDADES

1

A minimalist digital art piece featuring a stark white geometric structure with sharp angles and diagonal planes. At the core, an amorphous, reflexive white viscous material—smooth and semi-glossy with a latex-like texture—twists and folds organically. The composition is divided by macro black dotted lines forming a cross-like pattern, with black paths and planes piercing through the forms. The structure embodies a modern industrial aesthetic with clean, three-dimensional shapes that project forward and recede into depth. The lighting creates high-contrast shadows and highlights, emphasizing the transition from a bright white foreground to a deep black background. This macro-perspective shot reveals a cracked, crystalline surface with intricate fracture patterns in white and silvery tones. The central cross-shaped crack pattern dominates the composition, while a cool monochromatic palette of pure whites, metallic grays, and deep blacks reinforces the futuristic and precise architectural quality of the piece. High-resolution detail showcases the individual crystalline structures and fracture layers with ultra-clarity.

2

A minimalist architectural abstract digital art piece featuring a stark white geometric structure with sharp angles and diagonal lines. The composition is divided into sections by black dotted lines creating a cross-like pattern. The structure has a modern, industrial aesthetic with clean lines and sharp edges. The background transitions from bright white to deep black, creating a strong contrast. The geometric shapes are three-dimensional, with some sections receding into the depth of the image while others project forward. The lighting creates subtle shadows and highlights on the white surfaces, giving depth and dimension to the piece. The overall color palette consists of pure whites, deep blacks, and metallic grays. The image has a futuristic, architectural quality with a strong sense of symmetry and geometric precision.

3

Macro internal photography inside under a clear crystalline surface refraction containing sharp, black needle-like inclusions and geometric curved shards suspended inside. Hyper-realistic glass textures, realistic refraction and light caustics. Subtle surface imperfections like micro-scratches and tiny dust particles for enhanced realism. High-end studio lighting, soft chromatic aberration on the edges, clean white minimalist background, shallow depth of field, 8k resolution, highly detailed. Perfect mathematical curved surface, absolute geometric purity. Axonometric projection, 1:1 format penetrated by strict orthogonal Cartesian cuts — long planar voids slicing cleanly through without adaptation. Interior spaces are entirely rectilinear, composed of thin dark planes, orthogonal slabs, linear grids and structural elements forming cross-shaped intersections (+). All internal curved geometries ignore the envelope. Introduce isolated diagonal incisions cutting sharply across the surface — few but deliberate — creating tension against the Cartesian system. Across parts  create dashed linear perforations made of evenly spaced rectangular voids, like a broken line carved through the surface. These perforations fully traverse the volume, allowing light to pierce through the dark interior. Strong geometric conflict between continuous and rigid orthogonal intrusion. No blending. No soft transitions. The intersection between cuts must remain abrupt and unresolved. Interior must be significantly darker — deep shadowed cavities, dark walnut structure, high contrast between bright exterior and near-black internal voids. Conceptual architectural dissection model. Neutral studio background. Strong directional lighting. Long, sharp shadows. High clarity. Dramatic contrast. No organic transitions. Curvature adaptation. Absolute geometric tension, extreme close-up.

4

Extreme macro internal view inside a fractured all white plastic material, immersive perspective with no visible outer edges or background — the frame is entirely filled by the interior volume, as if the viewer exists inside the object. Intersecting sharp planes, internal fractures and splinters forming complex spatial layers. Thin black needle-like inclusions and filament structures suspended throughout the material. Highly refractive surfaces, light scattering, caustics, and subtle chromatic aberration. Cold monochromatic palette (silver, gray, faint blue). Embedded within the plastic is a rigid Cartesian architectural system — orthogonal slabs, linear grids, and cross-shaped (+) intersections formed by thin planar structures. Long, straight rectangular voids slice cleanly through the volume. Sparse diagonal incisions cut sharply across the orthogonal system, creating tension. Introduce dashed linear perforations composed of evenly spaced rectangular voids that fully traverse the structure, allowing light to pass through the dark interior. No blending between systems — the curved refractive crystal and the rectilinear architectural interior remain in strict conflict. Intersections are abrupt, unresolved, and sharply defined. Interior spaces are significantly darker, forming deep shadowed cavities with near-black contrast against luminous refractive surfaces. Hyper-detailed, photorealistic macro photography, infinite internal space sensation, no borders, no horizon, no external context. Cinematic directional lighting, high contrast, sharp shadows, ultra clarity, 8k resolution.

5

Extreme macro internal view inside a fractured transparent crystal, immersive perspective with no visible outer edges or background — the frame is entirely filled by the interior volume, as if the viewer exists inside the object. Intersecting sharp glass planes, internal fractures and splinters forming complex spatial layers. Thin black needle-like inclusions and filament structures suspended throughout the material. Highly refractive surfaces, light scattering, caustics, and subtle chromatic aberration. Warm monochromatic palette (amber). Embedded within the crystal is a rigid Cartesian architectural system — orthogonal slabs, linear grids, and cross-shaped (+) intersections formed by thin planar structures. Long, straight rectangular voids slice cleanly through the volume. Sparse diagonal incisions cut sharply across the orthogonal system, creating tension. Introduce dashed linear perforations composed of evenly spaced rectangular voids that fully traverse the structure, allowing light to pass through the dark interior. No blending between systems — the curved refractive crystal and the rectilinear architectural interior remain in strict conflict. Intersections are abrupt, unresolved, and sharply defined. Interior spaces are significantly darker, forming deep shadowed cavities with near-black contrast against luminous refractive surfaces. Hyper-detailed, photorealistic macro photography, infinite internal space sensation, no borders, no horizon, no external context. Cinematic directional lighting, high contrast, sharp shadows, ultra clarity, 8k resolution.

15h30 – 16h30 | Finalização e Curadoria Crítica

• Análise de Resultados: Comparação entre as imagens geradas em diferentes dispositivos e modelos.

16h30 – 17h00 | Apresentação Coletiva e Encerramento

Conexões e Desdobramentos

• Apresentação das imagens e narrativas geradas pelos participantes.

• Encerramento: Acesso ao livro  e orientações para a continuidade da pesquisa no espaço latente.