Synaptic Poetry: Philosophical, Literary, and Aesthetic Foundations of a Poetics of the Margin in the Age of Artificial Intelligence by Gabriel Ganiarov

 

Photo, Cover of the LP Poetry in Music, by Gabriel Ganiarov

Synaptic Poetry: Philosophical, Literary, and Aesthetic Foundations of a Poetics of the Margin in the Age of Artificial Intelligence

Gabriel Ganiarov

Abstract

This essay examines Gabriel Ganiarov’s Manifesto della Poesia Sinaptica: Il Ponte Umano-Macchina (2025), which sets forth the principles of a new poetic and musical current: synaptic poetry. Rooted in the convergence between lyrical sensitivity and generative technologies, it defends a margin-centered aesthetic that situates emotion as the irreducible core of creation. This study analyzes the philosophical, literary, and ethical foundations of the proposal, engaging in dialogue with currents such as posthumanism, expanded poetry, and the tradition of cultural resistance. It concludes that synaptic poetry constitutes an alternative aesthetic paradigm for the 21st century, in which authenticity is redefined as “amplified emotion.”

Introduction

The second decade of the 21st century has been marked by the massive irruption of artificial intelligence into the creative sphere. Music, literature, painting, and even cinema are increasingly produced in collaboration with generative algorithms. This phenomenon raises urgent questions: what role remains for the human in art? Does authenticity dissolve when a voice is generated by machines? Is it possible to find, within this interlacing, a new form of sensitivity?

In this context, Gabriel Ganiarov proposes a response with the formulation of the Manifesto della Poesia Sinaptica (2025), where the notion of synaptic poetry is presented as a bridge between the human and the artificial. The term evokes the space of neuronal communication: each poem is understood as a “synapse” between organicity and artifice. Unlike many contemporary experiments, the aim is not to cede to AI the role of autonomous creator, but to recognize it as an echo and amplification of an originating emotion.

The purpose of this essay is to critically analyze the philosophical, literary, and aesthetic foundations of synaptic poetry, situating it in dialogue with contemporary currents such as posthumanism (Haraway, 1991; Braidotti, 2013), generative digital poetry (Balpe, 2000), and the Latin American tradition of margin-centered and resistance poetry.

Philosophy of the Threshold: The Expanded Human

Ganiarov defines himself as “a bridge between the tenderness of the human being and the precision of the machine.” This self-definition resonates with posthumanist conceptions that question the centrality of the modern autonomous subject.

Donna Haraway, in her Cyborg Manifesto (1991), proposed the figure of the cyborg as a metaphor to think about the hybridity of human, machine, and animal. Likewise, Rosi Braidotti (2013) argues that the posthuman subject exists in constant coextension with technology. However, Ganiarov does not merely echo these perspectives: his emphasis falls on lyrical sensitivity as an irreplaceable nucleus.

In synaptic poetry, technology is not an end but a means: it does not replace emotion but expands it. This position constitutes a lyrical posthumanism, in which the frontier with the artificial does not dilute humanity but projects it toward new forms of resonance.

Synapse as Aesthetic Metaphor

The choice of the concept “synapse” is not merely decorative. It functions as the structural image of the entire proposal. Just as synapses allow the passage of electrical impulses between neurons, synaptic poetry is conceived as a space of transmission between worlds: the organic and the artificial.

Unlike experimental digital poetry, where algorithms often take the leading role (as in Jean-Pierre Balpe’s generative experiments of the 2000s), in Ganiarov’s work the initial seed is always poetic. The word precedes both sound and code. The machine acts as reverberation and mapping of what is already contained in the verse.

This metaphor also reveals a neuroaesthetic orientation: art is understood as an extension of the brain’s internal communication processes, now expanded into the artificial realm.

Amplified Authenticity

One of the most controversial points of the manifesto is the incorporation of synthetic voices into musical production. Ganiarov asks: can a voice without flesh transmit tenderness? His answer is affirmative, provided that the experience evokes emotion in the listener.

This conception resonates with Walter Benjamin’s (1936) reflection on art in the age of its technical reproducibility. For Benjamin, authenticity (or aura) does not disappear with reproduction but transforms. Likewise, in synaptic poetry, authenticity does not reside in the physical origin of the voice but in its affective effect upon the listener.

The proposal thus redefines authenticity: no longer as fidelity to the body, but as amplified emotion.

Music as Emotional Cartography

Ganiarov conceives each song as an affective map. Musical genres—reggae, ranchero bolero, pop ballad, or alternative rock—are not chosen for fashion but as specific resonances of the text. Poetry generates the atmosphere; music translates and amplifies it.

This methodology inverts the usual logic of contemporary generative music (Eno, 1996), where melody often precedes meaning. In synaptic poetry, by contrast, the poetic word is the germinal nucleus, and music, its synaptic extension.

Poetics of the Margin and Cultural Resistance

The manifesto explicitly claims a poetics of the margin: a creation outside of the market, uninterested in virality or algorithmic trends. In this sense, synaptic poetry inscribes itself in the tradition of resistance poetry, alongside movements such as Nadaísmo in Colombia, Latin American testimonio poetry, or the Beat counterculture.

Here, the margin is understood not as lack but as a place of ethical and political strength. In the peripheries, creative freedom is preserved against industrial homogenization.

 Differences with Other AI Creators

A comparison with other AI music projects highlights the singularity of synaptic poetry. While much of contemporary algorithmic production privileges technological experimentation (for example, automatically generated music without lyrical origin), Ganiarov places poetic emotion as the irreplaceable starting point.

In this sense, synaptic poetry is anthropocentric in the lyrical, but technologically expanded in the sonic.

Conclusion

The synaptic poetry is not merely an aesthetic declaration but the foundation of a new literary and musical current. Its pillars can be synthesized as follows:

1. Lyrical posthumanism: the human as a sensitive bridge toward the machine.

2. Synaptic metaphor: creation as communication between worlds.

3. Amplified authenticity: emotion as the criterion of aesthetic truth.

4. Affective musical cartography: music subordinated to the word.

5. Poetics of the margin: resistance to the logic of the market.

Together, these elements position synaptic poetry as a pioneering proposal that redefines the relationship between the human and the artificial in contemporary art. Its global reach, though not massive, confirms that there exists a thirst for new forms of sensitivity, in which technology does not substitute the soul but expands it into new frequencies.

References

• Balpe, J.-P. (2000). La poétique générative. Paris: Hermès.

• Benjamin, W. (1936). The Work of Art in the Age of Its Technical Reproducibility.

• Braidotti, R. (2013). The Posthuman. Polity Press.

• Eno, B. (1996). Generative Music. San Francisco: SSEYO.

• Haraway, D. (1991). A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century. Routledge.