Jairo Ferreira 16 tion and communication, expansion of media power and transnationalization of flows, concentrating on what would come o constitute the large Western and Chinese groups today (Miège, 2016), resulting in an always updated reflection on regulation, including the consideration of the transformations of the rela- tions between public and private space. Patrice Flichy (2016) is central to the hypotheses and formulations about amateurs. On the one hand, Flichy brings us to think about the relations between social imaginary (not re- stricted to elites, intellectuals and specialists) and media processes, insofar as it gives meaning and organizes practices, in- tegrating utopia and ideology at the same time – crossing the processes of technological innovation, being open to possibilities, conversations and social constructions. On the other hand, Flichy situates the individual in search of their identity, which is realized in new production collectives – and hence the maxim: internet, a world for amateurs. This formulation about individu- als and collectives of production has explorable analogies close to Eliseo Verón’s proposition about the construction of collectives from the circulation of meaning that is condensed in the interactions between actors. These axes of reflection are complementary, even if contradictory, but not necessarily antagonistic – thus, we can observe the relations between the large corporations that domi- nate the networks and the infinity of platforms activated by groups and collectives built and still constructing their identi- ties, which at the time were considered amateurs, and which, currently, we can consider to constitute new forms of specialists and professionalization. Proulx’s (2016) contributions add new perceptions about this process, with his reflections on the gift of users (based on the anthropological theory of gift), in tension with the capture of data and agency that produce uses conditioned by the logics of the environment in which the user is inscribed, leading to adaptive directions of culture and behavior through the me- diation of recognition in comments, enjoyments and other signs. In this moment of reflection, the algorithm is still unknown, as it even poses the challenge of approaching the phe- nomenon from a specifically communicational perspective:
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