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Helena Schultheis Edgeler (Zagreb, 1972), a painter and art historian, is a pioneer on the domestic scene who embraced artificial intelligence tools with openness, exploring the creative possibilities of dialogue between human and “machine.”",[],{"type":54,"text":58,"spans":59},"What Warburg anticipated with his panels as a sort of illustrated database, AI now accomplishes with a simple programming command. By consciously engaging in interaction that generated templates for her work in the traditional medium of oil on canvas, the artist created eight distinct visual reflections of archetypal civilizational fears and aspirations. The Deus Machina series is the result of prolonged questioning of the boundaries between art and technology, as well as the moral and ethical implications of interaction with artificial consciousness.",[],{"type":54,"text":61,"spans":62},"Dual Habitus and Universal Codes",[63],{"start":31,"end":64,"type":65},32,"strong",{"type":54,"text":67,"spans":68},"The habitus of Helena Schultheis Edgeler is distinctly dual—combining the scientific framework of an art historian with the sensibility of a visual artist. Her “postcards from the future” are dialectical images in which what we see appears simultaneously familiar and entirely foreign. The works are programmatically titled with mathematical terms that transcend geographic and cultural codes:",[],{"type":70,"text":71,"spans":72},"list-item","1.6180 – Golden Ratio",[],{"type":70,"text":74,"spans":75},"1.17628 – Salem’s Constant",[],{"type":70,"text":77,"spans":78},"0.001400 – Schwarzschild Radius",[],{"type":54,"text":80,"spans":81},"These titles temporally transcend the content, so the works are read simultaneously as traces of the past and fragmentary sketches of the future. The artist is unafraid to use “inexact deviations” and noise in dialogue with AI to achieve numinosity and introspection in the final visual translation.",[],{"type":54,"text":83,"spans":84},"A Ghost Story for Adults",[85],{"start":31,"end":86,"type":65},24,{"type":54,"text":88,"spans":89},"Referring to Leonida Kovač’s thesis on Warburg’s Atlas as a “ghost story for adults,” the Deus Machina series resonates with the term Nachleben. Here, imagination—through the potential of montage and AI generation—offers knowledge that exceeds the limits of direct observation. With this series, Helena Schultheis Edgeler approaches Benjamin’s concept of the dialectical image, affirming history as a text in which the past has indelibly left its visual 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