Afterlives Chimeras

Reflecting on transformation, unity, and beauty amidst destruction. This project reimagines ancient Egyptian mummification practices involving animals—specifically, those in which several bones of felids were grouped at the “body” part of the mummy—through the lens of ecological tragedy. It draws parallels between votive offerings to deities and today’s sacrifices of wildlife in Brazil’s wetlands to neoliberal-driven industries like agribusiness, mining, and steel mills. Utilizing AI tools like KREA.AI and Mashy.AI, the project begins with a 10-second video created from selected photographs of actual carbonized animals. Frames from this video are extracted using EZgif and used as input to generate 3D models of hybrid creatures in Meshy.AI. The work blends images of carbonized wildlife into surreal chimeras—hybrid animal-like forms—symbolizing the “melting-into-one-another” of distinct creatures through fire’s devastation. Translated into 3D-printed sculptures in white PLA reminiscent of Egyptian mummy linen, these haunting forms embody both physical destruction and humanity’s role in ecological collapse. The melting aesthetics of the frames extracted from the video generated in  KREA— as trained AI struggles with tangencies—intensify the sense of loss and transformation. The Afterlives-Chimeras stand as collective memorials, urging humanity to confront the consequences of industrial expansion, consumerism, and the interconnectedness of all life. They underscore the need for a new ethos—one that respects ecological interdependence and honors the life forms sacrificed in the name of progress and economic growth. This project invites contemplation on how creation and unity can emerge from ruin, prompting reflection on our shared responsibility for endangered ecosystems.

Keywords

Technoetic Arts, Ecological Memory, AI-generated Chimeras, AI Aesthetics, Dystopian Aesthetics, Hybridization, Digital Fabrication, Devastating Wildfires, Wildfires in Brazil's Pantanal Wetland, Humanity’s Role in Ecological Collapse, Climate Change. 

A study by World Weather Attribution [1] revealed that human-induced climate change made the devastating 2024 June wildfires in Brazil’s Pantanal at least four times more likely and 40% more intense. These fires scorched 440,000 hectares (1.1 million acres), leaving charred remains of monkeys, caimans, and snakes, and are thought to have killed millions of animals, along with countless plants, insects, and fungi [2]. The scale of destruction exceeded the previous June record by more than 70%, driven by extreme fire conditions that made the region a vast tinderbox. June 2024 marked the driest, hottest, and windiest month ever recorded in the Brazilian Pantanal.

If human activity had not disrupted the climate by burning trees, oil, gas, and coal, such extreme fire weather would have been much less frequent [1]. World Weather Attribution researchers’ analysis—drawing on weather observations and computer modeling—showed that [1] extreme winds, high temperatures, and dry conditions made fire-prone weather 40% more intense and four to five times more likely to occur. The El Niño climate pattern, which weakened before June 2024, was not found to have significantly influenced these conditions. These trends will worsen [1] unless humanity halts fossil fuel consumption and deforestation. 

Reflecting on the visceral entanglement and intricate relationship between the climate crisis, population growth, and cultural behaviors, soybeans stand out as the largest and most concentrated segment of global agricultural trade. Two land-rich countries—Brazil and the United States—dominate soybean exports, while China accounts for over 60% of global imports, accorgin to ASDA (United States Department of Agriculture) [3]. 

As noted in a recent article by Mei Mei Chu [4], a Beijing correspondent for Reuters, published on November 13, 2024, the trade war between the U.S. and China during Donald Trump’s first presidential term led Beijing to take measures aimed at reducing its dependence on American agricultural products, as part of a broader strategy to enhance its food security. Since then, China’s reliance on U.S. soybeans—previously the largest American export to China—has significantly decreased, with imports falling from 40% in 2016 to 18% in 2024, according to Chinese customs data. During this period, China shifted its sourcing to Brazil, which not only became its primary supplier of soybeans but also overtook the U.S. as China’s leading corn provider. Additionally, China’s agricultural imports from the U.S. dropped from $43 billion in 2022 to $34 billion in 2023, with further declines anticipated this year, according to Chinese customs figures. 

Mei Mei Chu [4] outlines China’s year-by-year efforts to diversify agricultural supply sources, enhance local production, and strengthen food security following the trade war with the U.S. On April 14, 2023, she notes that China announced plans to reduce soymeal ratios in animal feed to less than 13% by 2025, down from 14.5% in 2022 [4]. Additionally, the country revealed initiatives to approve microbial proteins for feed and launch pilot projects utilizing leftover food and animal carcasses as feed sources [4]. By June 3, 2024, Chu reports, China implemented its first food security law, aimed at achieving “absolute self-sufficiency” in staple grains and overall food production [4]. Most recently, on October 25, 2024, China introduced a 2024–2028 action plan focused on accelerating the development of smart farming and precision agriculture to boost food output [4]. Together, these strategic actions aim to propel China toward self-sufficiency, with the potential to significantly reshape global agricultural trade dynamics and carry far-reaching implications for the climate crisis.

Afterlives Chimeras 

The project "Afterlives Chimeras: Wetland Carbonized Memories" invites reflection on the transcendence of conflict and destruction through creation, beauty, and unity. It reminds us of the integration of life forms with one another as part of a complex biochemical existence—from subatomic particles to cells in all possible recombinations—in their thrive to survive within the most diverse ecosystems competing for energy sources and optimal conditions.

Inspired by the ancient Egyptian practice of creating animal mummies—sacred incarnations or votive offerings that established eternal bonds between the living and the divine—this artwork reimagines such offerings through the lens of modern ecological catastrophe. In Brazil’s wetlands and the Amazon rainforest, animals are no longer sacrificed to deities, but to the neoliberal forces of agribusiness, mining, and fossil fuel industries, whose activities have driven relentless fires.

The Pantanal spans 17 million hectares, boasting exceptional biodiversity and hosting around 4,700 unique plant and animal species. This rich ecosystem provides essential services to surrounding areas, sustains the livelihoods of both Indigenous and non-Indigenous communities, and serves as a substantial carbon reservoir.

Through Afterlives Chimeras, I aim to metaphorically recreate these sacrifices, transforming the remains of these animals into AI-generated chimeras—hybridized and deformed entities existing in a liminal space between life and death, the physical and the digital. These chimeras, created using AI tools such as Krea.AI and Meshy.AI, take on haunting, surreal forms that evoke the devastation wrought by fire. Each hybrid, emerges from a fusion of photographs depicting several carbonized wild animals that fell victim to wildfires in Brazil’s Pantanal. The animals—once distinct beings—are symbolically melted together, their forms carbonized into new, grotesque entities exploring AI aesthetics. 

These hybrids are in-between forms of existence, deformed versions of what once was, echoing the idea that the fire has caused them to lose their individuality, merging them into one collective body of loss and destruction.

The transformation of the photographic representation of distinct animals into 3D printed models of chimeric beings symbolizes not only the physical destruction wrought by fire but also the profound interconnectedness of all life—the idea that one being exists within another. As the bodies of these animals are grotesquely fused through the devastation of fire, humanity’s destiny is inseparably tied to the fate of these ecosystems. Symbolically, we are all part of a shared existence within the same ecological systems. Yet, under the pervasive influence of neoliberal forces, we collectively, albeit paradoxically, contribute to their destruction. 

The resultant 3D models—the afterlives chimeras—, torn between their past extinct lives and their new algorithmic existences, evoke the notion of collective suffering and shared responsibility for the fires that have consumed millions of hectares of forest and countless animal lives. Reptiles and amphibians are at the greatest risk during wildfires in the Pantanal, while monkeys often succumb to smoke inhalation, and jaguars have been discovered with severe third-degree burns. During the 2020 fires, referred to as “the year of flames,” [5] nearly 30% of the biome was consumed by fire, resulting in the deaths of 17 million vertebrates.  Amid the scorched wilderness, a team of volunteer animal rescue workers tirelessly searches for survivors. As reported by The Guardian in July 2024 [5], volunteers observed the devastation firsthand, stating in one week, some have “[…] already seen hundreds, perhaps thousands, of dead animals—reptiles, snakes, frogs—all the creatures that cannot escape. They simply have no chance.”[5]

The 3D models generated in Meshy were 3D-printed in white PLA resembling Egyptian mummy linen, standing as ghostly reminders of the power of destruction inherent in neoliberal ideologies, serving as memorials for the millions of vertebrates exterminated in the Pantanal and other biomes in Brazil. Just as ancient offerings created a bond between humans and the divine, these chimeras invite viewers to forge a connection with the lost lives of animals and the ecosystems destroyed by human activity.

References:

[1] World Weather Attribution, “Extreme downpours increasing in Southern Spain as fossil fuel emissions heat the climate,” World Weather Attribution, 04 November 2024, accessed November 5, 2024, https://www.worldweatherattribution.org/extreme-downpours-increasing-in-southern-spain-as-fossil-fuel-emissions-heat-the-climate/

[2] Jonathan Watts, “Wildfires in Brazil’s Pantanal wetland fuelled ‘by climate disruption,’” The Guardian, Climate Crisis, Thu 8 Aug 2024 16.27 BST, accessed November 5, 2024, https://www.theguardian.com/world/article/2024/aug/08/wildfires-brazil-pantanal-wetland-climate-disruption

[3] USDA United States Department of Agriculture “Interdependence of China, United States, and Brazil in Soybean Trade,” OCS-19F-01 USDA, Economic Research Service, accessed November 23, 2024, https://www.ers.usda.gov/webdocs/outlooks/93390/ocs-19f-01.pdf

[4] Mei Mei Chu, “How China reduced its reliance on US farm imports, softening trade war risks,” Reuters, November 12, 202411:59 PM GMT-3, accessed November 23, 2024, https://www.reuters.com/markets/commodities/how-china-reduced-its-reliance-us-farm-imports-softening-trade-war-risks-2024-11-13/

[5] Harriet Barber, “Devastation as world’s biggest wetland burns: ‘those that cannot run don’t stand a chance’,” The Guardian, The age of extinction, Wildfires, Tue 9 Jul 2024 08.00 BST, accessed November 5, 2024, https://rb.gy/hzksw8

Installation Description: Afterlife-Chimeras (2025)

The installation creates an immersive environment that invites audiences to explore the intersection of ecological memory and AI generative aesthetics. The 3x3-meter darkened space, with a height of 3 meters or more, is designed to blend physical and digital elements, providing a contemplative and interactive experience.

Key Elements of the Installation:

1. 3D-Printed Sculptures

• Placement: Three 3D-printed sculptures (approximately 30 to 40 cm long; 20cm high) will be displayed on individual plinths, placed centrally within the space. Each sculpture represents a hybrid chimera generated through AI-driven processes.

• Spotlighting: A dedicated spotlight will illuminate each sculpture, highlighting their intricate forms and the white PLA material, which evokes the texture of Egyptian mummy linen. The light will enhance the organic and surreal aspects of the hybrid forms while creating dramatic shadows.

• Interaction: The sculptures are touchable, allowing visitors to engage with their physicality and details up close.

2. Tablet Interaction

• Content: A tablet will be available for visitors to explore a looping Houdini-generated animation showcasing the transformation of one 3D model of an AI-generated chimera into another. This animation directly correlates with the generative process that inspired the 3D-printed sculptures.

• Experience: Visitors can watch the dynamic morphogenesis process, reinforcing the conceptual link between ecological interdependence and creative transformation.

3. Projected AI Video

• Projection Content: A nearby wall will feature the original AI-generated 10-second video—created using tools such as KREA.AI and used as a source for Houdini’s procedural modeling process.

• Projection Surface: The video will be projected at a significant scale, serving as a vibrant, moving backdrop that immerses viewers in the foundational imagery of the project.

• Lighting Balance: Careful adjustment of brightness ensures that the projection complements, rather than overshadows, the illuminated sculptures.

4. Environmental Design

• Darkened Space: The room will be entirely darkened except for the spotlights and projection, focusing attention on the sculptures, animations, and video.

• Soundscapes (Optional): silence can reinforce the meditative tone.

• Movement Flow: The layout encourages visitors to circulate between the sculptures, the tablet, and the projected video, creating a cohesive narrative journey.

5. Technical Integration with Houdini

• Houdini Animations: The animations, rendered in Houdini, bring the AI-generated hybrid creatures to life, demonstrating their procedural evolution. Houdini’s procedural modeling capabilities emphasize the fluidity and complexity of the morphing forms, embodying the “melting-into-one-another” aesthetic central to the project.

• Workflow: Frames from the AI-generated video are used as input for Houdini’s procedural systems, merging artistic intention with technological precision to craft dynamic animations and 3D models.

6. Spatial and Technical Requirements

• Space Dimensions: The installation requires a minimum 3x3-meter area with a height of 3 meters or more to accommodate spotlights, projection equipment, and audience movement.

• Equipment: Electrical outlets are needed for the spotlights, tablet charging station, and projector (supplied by FILE 2025 organization, as well as the wooden bases for the 3 sculptures) 

• Accessibility: The layout ensures safe and inclusive access for all audiences.

This setup amplifies the conceptual and technical dimensions of the work, inviting audiences to engage deeply with the hybridization of ecological memories and AI generative aesthetics. 

WORKSHOP PROPOSAL: Afterlife-Chimeras: Hybridization of Ecological Memories Exploring AI Generative Aesthetics

This workshop invites participants to reflect on transformation, unity, and beauty amidst destruction by reimagining ancient Egyptian mummification practices through the lens of ecological tragedy. In particular, it explores the process in which several bones of felids were grouped in the “body” section of the mummy, drawing parallels between these ancient rituals and the contemporary sacrifices of wildlife in Brazil’s wetlands — the Pantanal. These modern sacrifices are often driven by neoliberal industries such as agribusiness, mining, and steel mills.

The workshop will begin with a brief presentation of a project that uses AI tools—KREA.AI and Mashy.AI—to generate haunting hybrid creatures from selected photographs of carbonized animals. These images, captured from a 10-second video, serve as the foundation for creating surreal chimeras: animal-like forms representing the “melting-into-one-another” of distinct creatures through fire’s devastation.

Participants will learn how to extract frames from the KREA.AI video footage using tools like EZgif and input them into Meshy.AI to create 3D models of these hybrid creatures. Through hands-on creative coding, attendees will generate their own visualizations of the merging of species, with a focus on ecological interdependence. The chimeras will be further explored through their 3D printed representations in white PLA, which evoke the texture of Egyptian mummy linen. These sculptures stand as memorials to the destruction of ecosystems, emphasizing humanity’s complicity in ecological collapse.

The melting aesthetics of AI-generated frames, trained to process tangencies and intensify the sense of loss, will be discussed in relation to the broader environmental context. Participants will engage in critical dialogue on the role of industrial expansion, consumerism, and the environmental impacts that accompany them.

By exploring AI-generated art and its relationship to ecological grief, the workshop encourages participants to confront the consequences of our actions on the natural world. The Afterlife-Chimeras serve as a call to action—urging us to respect ecological interdependence and honor the life forms sacrificed in the name of progress and economic growth. This workshop creates a space for contemplation on how creation and unity can emerge from ruin, prompting reflection on our collective responsibility for endangered ecosystems.

Workshop Setup and Material Requirements

Here is a comprehensive list of what is needed for the “Afterlife-Chimeras” workshop:

Participant Seating and Workspace

1. Tables

• 4 large rectangular tables (to accommodate 15 participants in groups of 3-4).

• 1 small table for the 3D printer and additional materials.

2. Chairs

• 15 chairs (one per participant).

3. Instructor’s Workspace

• 1 table and chair for the workshop leader’s presentation and materials.

Hardware and Devices

4. Laptops

• Participants must bring their own laptops. (Ensure compatibility with KREA.AI and Meshy.AI).

5. Internet Access

• A stable Wi-Fi connection with sufficient bandwidth to support 15 participants using online AI tools simultaneously.

6. Projector and Screen

• For the instructor’s presentation and demonstration of tools.

7. 3D Printer

• 1 small, user-friendly 3D printer (e.g., Creality Ender 3 or similar).

• PLA-compatible.

8. Power Supply

• Sufficient power outlets and extension cords to accommodate laptops, projector, and 3D printer.

Materials and Tools

9. PLA Filaments

• Supplied by the workshop leader (white PLA).

10. Additional Supplies

• Small tools for 3D printer maintenance (e.g., tweezers, scrapers, and nozzle cleaners).

Software and Online Tools

11. Online AI Tools

• Participants will use the free versions of:

• KREA.AI for video generation.

• Meshy.AI for creating 3D models.

12. EZgif

• For extracting frames from video footage.

• workshop leader will ensure access to the website or provide instructions for alternatives.

Space Requirements

13. Workshop Room

• Room size: Approx. 6x6 meters to accommodate 15 participants and equipment.

• Darkened space for immersive projection during the presentation (optional).

Workshop Leader Responsibilities

14. Presentation Materials

• Personal Laptop with preloaded examples, videos, and a prepared presentation provided by the workshop leader.

15. Demonstration Items

• A 10-second AI-generated video to showcase the process.

• Pre-made 3D printed chimera for reference.

Checklist for Setup and Execution

• Before the Workshop: (1 hour setup)

• Test internet speed and confirm compatibility of participant laptops with online tools.

• Preload and test 3D printer functionality.

• Ensure availability of extension cords and adapters.

• During the Workshop the leader will:

• Provide step-by-step instructions for using KREA.AI, EZgif, and Meshy.AI.

• Offer guidance on generating and refining 3D models.

• Supervise 3D printing of participant-created chimeras.