This essay critically explores the representation of the nude body in the digital era, focusing on the intersection of intimacy, censorship, and artistic practice. Through projects like Send Nudes and Pxrnpics, the text reflects on how digital images—particularly selfies and pornographic content—circulate as both expressions of desire and subjects of algorithmic control. Engaging with thinkers such as W.J.T. Mitchell, Judith Butler, Laura Mulvey, and Naief Yehya, the essay interrogates the cultural forces that shape visual regimes, and the role of painting as a counter-gesture to the speed and disposability of digital imagery. By examining how art can slow down, transform, and complicate our ways of seeing, the essay advocates for a living image that resists commodification and reclaims affect, agency, and ambiguity in contemporary visual culture.

This essay offers a critical reflection on the status of the image in the age of artificial intelligence, using the proliferation of visual filters mimicking Studio Ghibli's style as a lens to examine authorship, reproduction, and the art market in contemporary culture. Drawing on W.J.T. Mitchell’s concept of image agency and Walter Benjamin’s theory of mechanical reproduction, the text explores how AI accelerates long-standing processes of visual appropriation, aesthetic democratization, and the loss of aura. In dialogue with El arte del mercado en arte by Peraza and Iturbe, it analyzes the speculative dynamics of the art system and the decisive role of intermediaries in assigning value. The essay also critiques the ecological impact of large-scale digital tools and examines how even the most radical or ephemeral artistic practices are absorbed into market logic. Rather than advocating for AI as a creative tool, the essay seeks to understand the visual, political, and economic phenomena that its use unveils. Instead of asking what art is, it challenges who has the power to define, produce, and consume it.