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Within this context sits Digital Maieutics, a publication conceived as an autonomous conceptual artwork. The book uses artificial intelligence as an active interlocutor in a series of dialogues and texts inspired by Socratic maieutics, not to provide answers, but to generate questions, logical frictions, and new spaces for thought. AI is not treated as a tool, but as a discursive partner, challenging distinctions between author and medium, intuition and computation, human creativity and non-human processes.
Alongside the editorial dimension, Skygolpe’s practice includes a range of installations and physical works, often produced using industrial materials, prefabricated elements, neutral surfaces, or structures drawn from the urban environment. In these works, Skygolpe investigates the relationship between presence, language, and context, reducing form to minimal yet incisive interventions.
These works share a common attitude: using art as a tool of inquiry, avoiding definitive solutions and keeping open the tension between meaning, material, and system.
(Digital Maieutics, Skygolpe, p. 5, 2024)
“This book explores the evolving relationship between human intuition and machine cognition, a journey that seeks to stretch the boundaries of thought, language, and artistic expression. “Digital Maieutics” is both an artwork and an intellectual experiment, an attempt to use artificial intelligence tools to engage with profound philosophical questions while simultaneously reflecting on the nature of AI’s role as a source of creativity. The title, “Digital Maieutics”, references the ancient method of Socratic Maieutics, where the philosopher Socrates would guide his interlocutors to knowledge not by giving them answers but by asking questions that helped them “birth” ideas already latent within them. The term comes from the Greek word maieutikos, meaning “pertaining to midwifery.” In the Socratic tradition, the process of dialogue was key.
It wasn’t about reaching a single answer but rather about questioning assumptions and deconstructing thought patterns to uncover deeper truths.
Just as Socrates played the role of midwife to ideas, this book casts artificial intelligence in the role of both Socrates and interlocutor, “birthing” new perspectives that transcend the confines of human thought alone.
My aim with this project is to dissolve the traditional boundaries between creator and tool, between art and technology.
The dialogues and texts you will encounter in this book aren’t designed to provide easy answers or fixed interpretations. View them as intellectual provocations, unfolding through complex and, often paradoxical, logical interactions.
Here, artificial intelligences create and philosophize. They are my partners in an artistic and intellectual process that seeks to redefine what creativity could mean in a post-human age.
As you read through these dialogues, consider this: the artificial intelligences aren’t attempting to mimic human thought or emotion. They are evolving their own logic and forms of expression, untethered from the traditional constraints of human understanding. In doing so, they engage in a form of digital midwifery, introducing ideas and questions that challenge the reader to think beyond familiar frameworks. Human intervention is limited to the essential, intentionally preserving imperfections or inaccuracies introduced by the machines. “Digital Maieutics” is an artwork in itself, a conceptual piece whereby the reader, by the very act of reading, participates in a broader dialogue about knowledge, creativity, and the future of artificial intelligence. “Digital Maieutics” is your midwife. What happens when intelligence is no longer confined to biological systems? How does creativity evolve when the circumference of an artist is no longer drawn solely by that artist’s emotions or intuition but also by logical processes that continuously shift and change the shape of the horizon? These are some of the questions that this book aims to explore.”
-Skygolpe
This book, publishd by PRNTD Studio is a limited edition of 20 copies.
Issue No. 730, released on Sunday, November 23, 2025, presents the piece within the magazine’s long-standing tradition of dedicating its cover to exclusive works by artists whose research is selected by the editorial team as a visual declaration of the newspaper’s commitment to observing and interpreting contemporary art.
The focus shifts to the technological surface, to aesthetics, and to the repetition of the ready-made, constructing a language of technological brutalism in which the boundary between the real and the virtual becomes unstable. The work invites the viewer to confront the pervasive presence of the digital as an external context that, while appearing neutral, acts profoundly on consciousness and on the experience of the self.
A central discovery of modern experimental psychology is that human behavior is heavily influenced by external factors without the subject being fully aware of the influence. Behavior is sensitive to context and the mind is malleable, meaning it can be constantly shaped and reshaped by a myriad of causal factors.Human beings possess a large number of epigenetic traits, so it cannot be excluded that future and extended interaction with VR environments may lead to more fundamental changes, not only at the psychological level but also at the biological level.
The plasticity of the mind is not limited to behavioral traits – the illusion of reincarnation, for example, is possible because the mind is so malleable that it can even distort its own reincarnation. To be clear, embodied hallucinations can arise from normal brain activity and do not necessarily imply changes in the underlying neural structure. Such hallucinations naturally occur in dreams, for example, or in phantom limb experiences, out-of-body experiences, and body integrity identity disorders, and sometimes include changes in what is known in consciousness research as “unit of identity,” a phenomenon that relates to the conscious content we currently experience as “ourselves.
“Objective clarity is an external concept”
Nighttimestory is pleased to announce “PCE: Post concrete era” a solo exhibition by Skygolpe.
As one of the leading artists in the digital art space, Skygolpe mixes in his practice different digital and analogue elements, taken up by culture and the new contemporary aesthetics that characterize technology, to achieve a hybrid result that lives in a middle ground between the virtual and real dimensions (mixed reality).
In this show, Skygolpe blurs the lines of representation, inviting the visitor to question the normal boundaries between virtual and physical experiences and the long series of evocations generated by the works and by their arrangement/juxtaposition as symbols within the gallery.
Through this open evocation and by focusing on the exterior and aesthetics of the technology, this project pushes the viewer to consi- der the decisive presence of the digital within their own lives and in their experiences. In this exhibition, Skygolpe makes us become part of a research deliberately focused on the surface of technology, on the appearance , while describing with the ready made works exhibited, a technological brutalism composed of symbols in constant becoming.
https://artviewer.org/skygolpe-at-nighttimestory/
CONTEMPORARY ART LIBRARY
https://www.contemporaryartlibrary.org/project/skygolpe-at-nighttimestory-los-angeles-26884
In particular, it highlights the sheer magnitude of derivatives, when measured by their notional value, compared to traditional assets like real estate, bonds, and equities.Breakdown (Notional Value): At an estimated total of USD 1,950 trillion, the largest portion is held in derivatives, accounting for 60–65%. Real estate follows at 14–16%, with bonds close behind at 13–15%.
Monetary supply (cash and deposits) contributes 5–6%, while equities stand at 4–5%, and gold represents less than 1%. #derivatives #economy #data #installation #markets #art
In other words, the artist intervenes by borrowing the icon of printed paper currency, highlighting the imperfection and uncertainty of monetary value, producing an ideal "multiplication."Who or what creates value? Is it the central banking system, which controls the issuance of currency, that establishes the value itself, or is it the market, with its demand and supply, that determines it? And how can value be created in a decentralized economy, where money is replaced by cryptocurrencies and transactions occur anonymously and distributedly? The artwork does not answer any of these questions.Rather, it triggers a feedback loop mechanism in which the abundance of "value" produced contrasts with the actual and impossible exchangeability of banknotes. In a sense, the work is an autonomous production of value, a creation of value as a social and cultural construction, which evolves and transforms over time based on the artist's needs and dynamics.
The printers, in fact, are on 24/24 and produce photocopied banknotes continuously for 15 days (the same duration as the exhibition in which they are presented), using the electrical energy of the museum/foundation or gallery that hosts the artwork.