Ana Paula da Rosa 238 Figure 04 – Let’s talk about YOU. Screenshot displaying Spotify’s user interface For instance, it is intriguing to note which elements the machine’s imaginary activates. Based on previously outlined profiles, we are depicted (notably, this has been the focus of various theses and dissertations, including Guilherme Martins’ work on the circulation of emotions on Spotify). It does not mat- ter if I listened to soft and slow songs; in the afternoon, I played ‘heartbreak’ music. It does not matter if I had a tough year with health and work issues; the machine envisions me as ‘complete- ly happy.’ Deviations and errors are inherent in any relationship that produces meaning; the difference is that the collected data contradicts my perception. On the one hand, there are the mean- ings that the program attributes based on my data; on the other, there are the meanings I attribute based on the data about my- self. That reinforces Fausto Neto’s (2013) and Ferreira’s (2016) argument that circulation is characterized by an ‘explosion’ of gaps because there is always a difference between the intended meaning and the meanings that effectively circulate. In this scenario, we are dealing with the machine’s imaginary about man and the meanings that man produces; in
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