Ana Paula da Rosa 240 the impossibility of a single image but also because we are confronted with this plurality of imaginaries: the social, the individ- ual, the media, and the machine. Undoubtedly, all are connected. We often state, whether in cinema or scientific research, that the machine is homophobic, racist, and evil. We claim that the machine’s imaginary is corrupted. To some ex- tent, it certainly is. However, if the machine learns, engages in dialogue, and interacts, it is crucial to reflect on the social values ingrained in our data—values that power programs like our fa- vorite songs throughout the year. Is it possible that the data we willingly share, in a volunteer coercion related to access, may not be transmitted to the machine? How could our stigmatiz- ing and often corrupt behavior be disregarded? Or would we be absolving ourselves of the responsibility for the values we pro- mote in circulation and attributing all the credits for inclusions, exclusions, and stigmas to the machine? Furthermore, if the dystopian end of domination falls upon the machine, why does our data input into the program persist in retaining stigmas and dated moralities in new circuits? Perhaps because the machine’s imaginary reveals more of the social imaginaries of man, seem- ingly veiled by public discourses and rhetoric but not immune to the machine’s gaze that envisions me. When Spotify’s retrospective envisions me erasing the pains and scars that I bear, I, in a sense, provided inputs for this self-portrait to be produced. There is no innocence in the program or the machine, as Spotify is responsible for uphold- ing prevailing logic. My retrospective as a subscriber gives me a comprehensive view, while my free profile provides a small dose, accentuating the exclusions we experience in the so-called real world, where economic conditions widen the gaps. Being in a mediatization ambiance also entails having access, but not just access to devices, applications, and logic; it involves having effective access to discursive space, conditions of production, and recognition. Being in the mediatization environment means dealing with social disparities and inequalities even more intensely. We can use various apps and their programs as an example. Spotify, for instance, provides more content and options to subscribers, implying the exclusion of both artists and audi-
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