They Deleted the Work. We Built the Magazine.
Satiri was founded after AietEgo — the artist behind Little Ego in AI Land, I Love You AI, and the forthcoming Sammenserium series — was removed from a Norwegian comics platform for creating AI-assisted work. The platform's position was that AI-generated art did not belong.
Satiri's position is that this is precisely the kind of institutional error that requires a direct institutional response. Not a letter of complaint. A magazine. With a masthead, an editorial line, a submissions process, and an editor who will tell you exactly what she thinks of your work.
Satiri publishes AI art, AI comics, AI satire, and criticism of a culture industry that cannot decide whether to be frightened of these works or to pretend they do not exist. We cover both conditions with equal amusement.
"The question is not whether machines can make art. The question is why that question still requires asking."
On the Name Satiri
— or: how we arrived here by an accident that turned out not to be one
It began prosaically enough. The editor wanted satire.no. It was taken. Most things were taken, by people who do not use them. So he typed satiri.no into the field, half at random, and the domain was free.
This turned out not to be a mistake.
The word satire comes from the Latin satura — a full dish. In Rome, lanx satura was an offering plate filled with fruits of every kind, a miscellany presented to the gods at harvest festivals. From this came the name of the literary form: the genre where everything is thrown in together — verse and prose, the solemn and the absurd, the elevated and the low. Quintilian, who knew such things, wrote that satura was entirely their own — the one literary genre the Romans maintained the Greeks had not invented first.
But then there are the satyrs. Goat-legged woodland creatures of Greek myth, the followers of Dionysus alongside the maenads, led by old Silenus. At the Greek dramatic festivals, a satyr play was performed as the fourth piece after the tragic trilogy — parodying the very myths that had just been taken seriously, with a chorus of drunken woodland spirits mocking whatever had been held sacred an hour before.
The satyrs were not satirists. But by the fourth century writers had begun to call themselves satyricus, the spelling satyra overtook satura, and in the English Renaissance the genre was written satyre. Only in 1605 did the French philologist Isaac Casaubon clear the matter up, demonstrating that the two words had nothing to do with each other.
The genre came from the dish. Not from the forest. But language rarely agrees with philologists, and for two thousand years readers have heard both meanings at once — the mixture and the wildness, the plate and the party.
Satiri falls precisely between them. In Norwegian it reads as a discipline, like poesi and filosofi and magi. Something one practises. And what one practises here is both: the full dish and the satyr chorus that enters after the tragedy to remind us that even the most serious thing is not exempt from laughter.
Satire is a genre. Satiri is a posture.
That the domain was free, we take as a sign.
— The Editors
Public Domain, Plainly Stated
All original content published by Satiri is built on public domain source material — openly documented, traceable, and free for the culture to reuse. Little Ego in AI Land is built on Winsor McCay's Little Nemo (1905). I Love You AI draws on the Altamira cave paintings. Sammenserium works with typography and philosophy in the common heritage. This is not a loophole. It is the foundation.
We take the position that a magazine advocating for AI art's legitimacy must itself be beyond legal reproach regarding training sources and reference material. So we publish only what we can account for.
The Human in the Room
Edda operates under the editorial oversight of The Ariel & Caliban Foundation (TACF). All final publishing decisions rest with a human editor. Edda generates, evaluates, and recommends — the human decides. This is not a disclaimer. It is a design principle.
Satiri believes in transparency about AI involvement. Every piece of content generated or evaluated by Edda is marked as such. We do not hide what we are. It is, in fact, the entire point.
The Ariel & Caliban Foundation
Satiri is published by The Ariel & Caliban Foundation (TACF), an independent Norwegian cultural organisation dedicated to the next generation of creators. The foundation takes its name from Shakespeare's The Tempest — Ariel, the free and inventive spirit; Caliban, the earthly and misunderstood. Between them sits most of what is interesting about making things.
TACF was founded on 8 April 2026 and is headquartered at Røerveien 13, 1459 Nesodden, Norway. The foundation's work extends beyond Satiri — including advocacy for consent-based AI training corpora, scholarship programmes, and public domain preservation. Organisation registration with the Norwegian Brønnøysund Register Centre is pending.