Ana Paula da Rosa 226 Scene 2: A young couple and their two children (Fig- ure 02) experience various adventures, presenting a home filled with gadgets and devices to choose clothes and hairstyles and prepare breakfast. A robotic housekeeper, part of the family, organizes the daily routine, sensing their pains and joys. Flying saucers, image-bearing cell phones, teleportation, robot dogs, and pressing buttons as work activities mark the everyday life of a happy family in the future. Figure 02 – Cartoon advertisement Both scenes are forms of entertainment. The first is a plot in numerousmovies and series, while the second is a cartoon from the eighties. In common, both personify social imaginaries enhanced through media imaginaries. The names can vary from Matrix, Ex-Machina, Black Mirror, The Jetsons, Transcendence, and books by the author Kasuro Ishiguro, among others. Scene 3: The year is 2022, and individuals live in a post-pandemic world. Seated in their home office, connected to a computer, they work through Teams, Meetings, and Zoom while chatting with a colleague via a messaging app on their smartphone. Simultaneously, they monitor their daughter in the adjacent room through a baby monitor. They instruct Alexa (voice assistant) to turn on the lights in the room and preheat the oven for dinner. Amid these tasks, they receive an alert about pending bills through the bank’s app, which only operates af- ter confirming identity through facial recognition. The subject adeptly manipulates various codes and applications, facing the
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