Eneus Trindade 84 this algorithmic writing of advertising be? What is the place of images in the new algorithmic writing of advertising? It is at this point that we recover the valuable contribu- tion of Gillespie (2014) on the six aspects of the relevance of algorithms, mentioned in the introduction, to find possible ways of answering the questions presented, making a crossing between the informational/communicational aspect of the six relevant elements of the algorithm concerning the dimensions of produc- tion, circulation/interaction, and reception/consumption. When thinking about the issue of data production in algorithms, we realize that the promotion of standards for data inclusion happens via actors. Such actors are not necessarily hu- man, as AI has machines for data capture. This finding favors a dialogue with Bruno Latour’s (2012) Actor-Network perspec- tive, which studies actors in connection in digital networks and their flows of meaning, that is, the narrative/discursive course of networks as a new domain of understanding of the social and the cultur I e t . is also necessary to consider that this pattern of data inclusion in a context of storage and analysis is previously thought of by human beings for it to get automatized by machine programmings like software, apps, and platforms, but not all actors in this production of big data are humans. This process corresponds to the production dimension of communication in algorithms, that is, to the execution of calculations that predict probabilities of occurrences, seeking to anticipate, to consum- ers, offers of their most recurrent consumption practices. These calculation criteria are not visible and comprise the “black box” of algorithms. In addition, there are also fundamental discus- sions on the subject, such as those by Beer (2009), who tackles the studies of algorithms beyond the technical issue and thinks about their logic of power in cultural life, considering the pro- ductive intentionality materialized in software, and in the uses and daily consumption of these products. Recent international articles on the subject, such as that of Bucher (2017), recognize that studies on production in algorithms and how they work are in higher quantity than studies on their circulations and effects, perceptions, what could be interpreted, in this last case, as studies on the imaginary of
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