Eneus Trindade 86 ests, though predicted as minimal or rare probabilities and also as an instance of fruitful or cathartic aesthetic experience. The calculations of occurrences determined by algo- rithms in consumption are reflexes of the data interpretation. The induction or manipulation of certain occurrences takes place in the interactions/circulations in the actions of users on digital platforms in the face of previous determinations of possibilities that a given platform offers for the expected conceptions of uses, called affordances; that is, a concept that designates the potential of an object to be used as designed. This understanding of the term, roughly speaking, was offered by psychologist James J. Gibson (1977), whose contribution stimulated reflec- tions on design for human-machine interactions. But there are unforeseen uses and unusual occurrences that the algorithmic calculation recognizes and can resize its offers and its predict- ability (adjustment) in the face of uses in realities. This finding allows us to say that the algorithmdoes not act in the same way in all contexts, and the sociocultural aspect is a determinant of adjustments to cultural consumption practices. Thus, as we studied the issue of advertising and Brazilian cultural identity in 2012, realizing that the thematization and figurativeness of Brazilian aspects in commercials created the identification and link of pertinence and belonging to consump- tion (TRINDADE, 2012), we can affirm that the algorithmic ad- vertising also seeks adjustments with the public, what allows us to understand, from the perspective of Stuart Hall (2016), that there are ideological processes, concept images, promotional images, suggestions whose plasticity and content are specific to the contexts of interaction/communication, being a purpose of the research in the area to search for the nexus of social produc- tion of meaning in their specific contexts, allowing us to think that through the relationship between communication, ideol- ogy, and imaginary images, there is a theoretical path to under- stand, in practice, the differences that the contexts of the digital humanities can present in their themes, contents, iconicity, and figurativeness. And that the calculations in the discursive formu- lations, oriented to consumers, will present discursive thematizations and figurativeness that reflect the context of identifica- tion with the culture in which it is inserted.
RkJQdWJsaXNoZXIy MjEzNzYz