Abstract
<jats:p>This article aims to reconsider Walter Benjamin's concept of “aura” in the context of artworks produced with artificial intelligence (AI). Benjamin's claim that art loses its authenticity in the age of mechanical reproduction is revisited through the lens of digital and algorithmic art practices. The study employs a qualitative theoretical analysis, using Refik Anadol's Melting Memories and Machine Hallucinations as case studies. It proposes four contemporary forms of aura: processual, data-based, interactional, and algorithmic. The analysis demonstrates that AI-generated artworks can convey originality not only through their physical form, but also through their processes, cognitive dimensions, and audience interactions. Ultimately, it argues that rather than erasing subjectivity, digital and AI-driven production fosters a multi-layered, interactive aesthetic paradigm where aura persists in new forms.</jats:p>