A Living Poem is a generative language work by Sasha Stiles, created in collaboration with her AI alter ego Technelegy. The piece functions as a never-ending poem that regenerates itself every sixty minutes, combining custom language models, original datasets, voice, and visual elements into a continuous, self-rewriting system.

The work was developed for and presented at the Museum of Modern Art in New York, where it was shown on the Hyundai Card Digital Wall from September 2025 to March 2026. Sasha Stiles describes it as a "poem in residence": a living language system in which code, human writing, and algorithmic process converge in real time.

At Global Fusion Barcelona, an excerpt of A Living Poem is presented as part of the screening programme.

Folds, seams, and worn textures are reinterpreted as brushstrokes, water, and bloom. The imagery lives in duality: pond and pile, pastoral and urban, reflection and residue. At first glance, the works appear as lilies drifting on water; on closer view, they reveal themselves as nylon, logos, and seams drawn from the culture that shaped me.

This body of work marks a transition toward the flow of water. It is a portrait stitched in duality: the old pulse of urbanism and the pull of nature. Impressionism softens through fabric logic; what was worn becomes a symbol of reflection, and new waters carry me forward.

WORLDS is a series of generative artworks that explores the fragile balance between individual agency and systemic power in today’s political and socio-economic landscapes. Using computational processes, the work demonstrates how small shifts within complex systems can lead to dramatically different outcomes ,reflecting how a single decision or event can ripple through society with unpredictable consequences.
 
The work uncovers the architectural structures of vast systems, tracing the hidden geometry of influence and power as it flows through interconnected networks. Dramatic lighting captures these forms as they emerge from and dissolve into darkness, suggesting that we perceive only fragments of the larger forces at play. A monochromatic palette strips away surface distractions to reveal the underlying framework how systems operate beneath the visible world.
 
The process resembles a conversation with the unknown, where unexpected outcomes arise from a dynamic exchange with computational systems. This method reflects the volatility of the present moment, where seemingly stable structures can shift suddenly and irreversibly. Each piece emerges from this tension between intention and chance, control and chaos, echoing how we navigate the uncertain terrain of contemporary existence.
 
Although the visuals themselves are not generated by AI, the process carries similarities to machine intelligence:

"I design the rules and boundaries, yet I allow the system to respond in ways that escape my full control. This unpredictability is intentional—it creates a space where the code and I engage in an ongoing conversation, each trying to surprise the other. In contrast, when I share the code with AI tools for optimization, something essential is lost. The AI focuses purely on structure and efficiency, overlooking the aesthetic, emotional, and atmospheric qualities of the work, even when I provide image references. This tension between human intuition and algorithmic logic highlights why the generative process remains deeply human for me: the beauty emerges not from perfect control, but from allowing the system to drift into places I could not have consciously designed."
 
Each piece in WORLD arises from this interplay between intention and instability, control and chaos—echoing how we navigate the uncertain terrain of contemporary existence, where the systems that shape our world remain powerful, opaque, and constantly shifting.

Text by MAD Arts

FLOWERS is a new collaborative project by Kenta Cobayashi & Tyrone Williams, utilizing Al which was heavily referenced by their own work. From the “organic” to the more “digitized” aesthetic, this series blurs the line between both worlds visually by extending the process of work that has already been manipulated into further digital realms. The unpredictability of the system output is celebrated and steered by the influence of Kenta & Tyrone’s vision in a mix of solo and collaborative images which reflects both their personal signature styles and a common language.
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Mutated hackable bodies, bodies that didn’t quite work out and bodies that can no longer be classified as bodies. Hybridized flesh and code using AI. Drawing on the transhumanist musings of Yuval Noah Harari…humans are now hackable animals.

Exhumans continues the journey begun in X X, but here the language fragments further. The gaze is no longer unified: it breaks, multiplies, and drifts. Attention lingers on the interaction between human and machine, on their fusion, on the unstable and ambiguous dialogue that emerges.

The work is born from a fertile confusion, steeped in humanity with all its weaknesses, imperfections, and emotional fragility. Against this and intertwined with it stands the logic of machine calculation, its apparent perfection. In the artificial quest for humanity, a boundary emerges that cannot be crossed: the soul.

Humanity and technology encounter the limits of the system. The drive toward sublimation walks hand in hand with decay. Human and machine merge in a desperate pursuit of unattainable happiness: a desire that never finds completion, only repetition and nonsense.

In laughter, despair surfaces; in lucid vision. This work dives deeper than previous explorations, introducing a manual dimension layered upon digital intervention. The human gesture does not vanish but dialogues with the artificial, rendering the resulting emotion complex and stratified.

The selected work represents a further transformation in this series. Here, mutation becomes sublime and absurd, surreal, a space where humanity and the digital coexist and collide. The subject’s expression is ambiguous and complex, suspended between laughter and tears. Serious, yet dreaming; still in pose, yet alive…