The AI Art Magazine "Golden Ticket In Conversation": EEEZEEN with Auronda Scalera + Dr. Alfredo Cramerotti
As part of the this issue of The AI Art Magazine, the artists who have been awarded a Golden Ticket are invited to a conversation discussing their work with the selecting curators in a live IG session. This is a session with Seoul and London-based artist Eeezen and curatorial duo Auronda Scalera and Alfredo Cramerotti.
Among the topics touched upon:
Language The conversation began with Auronda and Alfredo’s first encounter with REVIEW. Their essay understands language as something that does more than describe the world. It enters perception and begins to shape what can be seen. From there, the conversation moved towards eeezeen’s interest in hostile online discourse and the traces it leaves behind. Why did you choose REVIEW as your Golden Ticket?
What stayed with you after your first encounter with the work?
eeezeen, when did language become the central material of this piece?
At what point does language stop describing what we see and begin to shape it?
Seeing The camera gives the system a first person view, but the result is not a neutral descrip- tion. What appears is already filtered through learned patterns of hostility. Somewhere within this process, seeing becomes interpretation.
What interested you in working with a first person perspective?Is there ever a moment of seeing before interpretation begins?
Auronda and Alfredo, you write that the distance between observer and machine begins to collapse. What happens to the viewer in that moment?
Can perception remain open once language has already framed what is visible?in_conversation//Jul_13_2026
Why did you choose a thermal printer for this work?What changes when generated language becomes physically present?
Do you think of the printed paper as evidence, or does it become something else? Auronda and Alfredo, what did this movement into material form open up in your reading of the work?
Shared Authorship The hostility produced by the system does not begin with the machine. It comes from human language that has been learned and returned in altered form. The work leaves responsibility unresolved. It remains inside the loop.
When the system speaks, whose language are we hearing?
Auronda and Alfredo, what do you mean when you describe the printed slips as fragments of shared authorship?
eeezeen, where do you locate your own position inside this loop?
What kind of linguistic environment are we collectively building?
How might care for language become a form of care for the world we are building with machines?