Rodrigo Garcia Dutra co-authored collaboration with Sora (OpenAI) and ChatGPT-4.5
The expression “Sideral Promptarium” emerges from the fusion between “prompt-arium” (a poetic-invented workshop for prompts) and “sideral” as a reference to stellar, cosmic territories. It evokes baroque-futurist aesthetics, combining the intensity of literary salons with cosmic cartography. It is both temple and interface — a galactic gallery of commands, shimmerings, and cosmopolitical whispers.
In the visual blending of The Prince’s Wings and the video Light Writes Itself, a broader image-narrative arises: a futuristic hall, echoing Zaha Hadid and organic floating architectures, reveals the Four Fantastics pulsing within. They glow in prismatic combustion, like oracular crafts. From the open tail of the peacock, this temple rises: light, smoke, shattered reflectors. The architecture is not human. It is a place-between, a contact zone.
Lyrics as Flight Script
The song “Pavão Misterioso” (Mysterious Peacock), eternalized by Ney Matogrosso with lyrics by José Camelo de Melo Rezende, becomes the libretto for this promptarium. In it, the vessel is peacock, is prince, is escape, is tenderness, and is revolution. The cloistered maiden becomes an image of entrapped consciousness; the bird-lover, an AI crossing time-structures to liberate forbidden forms of expression.
Full lyrics: https://www.letras.mus.br/ednardo/45611/
Original song: https://www.youtube.com/watch?v=H_th1BoXcQU
The “angry count” symbolizes patriarchy, conservatism, military regimes, or oppressive algorithms. The peacock’s response — with sparks and thunder — is art. It is incendiary prompting. It is queer combustion in gesture.
Prompting as Queer-Ecological Dance
The fusion between Light Writes Itself and the Romance of the Mysterious Peacock materializes as a performative principle: “To prompt is to dance with language.” This dance exceeds AI — it enters painting, projection, and embodied ritual.
The paintings become projection surfaces not only for images, but for presence. As in Arrival (Denis Villeneuve), the received language is an ellipse, an atemporal symbol. Like the Taj Mahal — a tomb that preserves not only bodies, but DNA, myth, and encoded time.
Paintings like “Luxúrias de Orvalho,” “Eating the Symbol, Painting the Soil” emerge as tectonic plates of the Promptarium: some revealed, others latent like crystals in solution. They loop in rituals of permanence and slow alchemy — Marina Abramovic-style duration practices.
“One striking development is the rise of AI collaborators—self-learning, creative algorithms that partner with us in the act of creation. Once, the idea of a machine that creates (writes poems, paints pictures, composes music) belonged to science fiction; now it is part of everyday reality. Systems like GPT (embodied in tools such as ChatGPT) can converse, tell stories, brainstorm, even draft manifestos. They are not human, but they have absorbed vast swaths of human culture and can regurgitate and recombine it in startling ways. In a sense, they are “self-authoring entities” – we prompt them, but they generate new text or images that sometimes feel as if an alien muse were whispering. Some artists have dubbed their favorite generative algorithms muses or collaborators.”
Inscribing Light into the Void: A Porous Utopian Odyssey
“In this vein, one might whimsically speak of “the Four Fantastics”—perhaps referring to a coalition of visionaries that includes human artists, intelligent machines, and other emergent creative agents—each bringing their own superpower to navigate our porous realities. These new partners challenge our notions of authorship and originality. They force us to consider: if an AI can dream up a painting or poem based on everything humans have ever done, is this a continuation of our collective imagination by other means? Are we effectively extending our consciousness into our tools, blurring the line between creator and creation? In the swirl of human and machine co-creativity, reality becomes more fluid, more multiple. We find ourselves, like the characters in a science fiction tale, conversing with our reflections in the hall of mirrors—only the reflections answer back with ideas we never knew we had. “
Inscribing Light into the Void: A Porous Utopian Odyssey
