Digital objects

Neste artigo, procuramos mostrar como a noção de midiatização profunda, proposta por Couldry e Hepp  (2017), pode ser uma referência importante para os estudos de comunicação, se levarmos em conta a natureza das plataformas, dos objetos digitais e as formas culturais assumidas por esses novos ambientes comunicacionais. Entre elas, podemos destacar a chamada cultura da busca, a cultura algorítmica ou a cultura orientada por dados (CHENEY-LIPPOLD, 2017 ANDERSEN, 2018, GILLESPIE, 2018b). Avançando um pouco mais nessas reflexões, procuramos apontar, ainda, como a particularidade dos objetos digitais, no caso, os logjects, objetos codificados de registro e de compartilhamento de dados (DODGE; KITCHIN, 2009) podem nos ajudar na construção de hipóteses de investigação sobre o aprofundamento das formas de
midiatização contemporâneas

We find ourselves in a media-intensive milieu comprising networks, images, sounds, and text, which we generalize as data and metadata. How can we understand this digital milieu and make sense of these data, not only focusing on their functionalities but also reflecting on our everyday life and existence? How do these material constructions demand a new philosophical understand- ing? Instead of following the reductionist approaches, which understand the digital milieu as abstract entities such as information and data, this article pro- poses to approach it from an embodied perspective: objects. The article contrasts digital objects with natural objects (e.g., apples on the table) and technical objects (e.g., hammers) in phenomenological investigations, and proposes to approach digital objects from the concept of “relations,” on the one hand the material relations that are concretized in the development of mark-up languages, such as SGML, HTML, and XML, and on the other hand, Web ontologies, the temporal relations that are produced and conditioned by the artificial memories of data.

Nos encontramos en un entorno intensivamente mediático compuesto de redes, imágenes, sonidos y texto que llamamos, de forma general, datos y metadatos. ¿Cómo podemos entender este entorno digital y darle sentido a estos datos de un modo en que no nos enfoquemos meramente en su funcionalidad, sino que también reflexionemos sobre nuestra vida cotidiana? ¿Cómo estas construcciones materiales demandan una nueva comprensión filosófica? En lugar de seguir aproximaciones reduccionistas, que entienden el medio digital como entidades abstractas como información y datos, el presente artículo propone una aproximación desde una perspectiva corpórea: los objetos. El artículo contrasta los objetos digitales con los objetos naturales (manzanas en una mesa) y objetos técnicos (martillos) en estudios fenomenológicos y propone aproximarse a los objetos digitales desde el concepto de “relaciones”. Por un lado, las relaciones materiales que se concretizan en el desarrollo de lenguajes de marcado tales como SGML, HTML y XML y, por el otro, ontologías web, las relaciones temporales que son producidas y condicionadas por memorias artificiales de datos.

Digital objects, in their simplest form, are data. They are also a new kind of industrial object that pervades every aspect of our life today—as online videos, images, text files, e-mails, blog posts, Facebook events. Yet, despite their ubiquity, the nature of digital objects remains unclear.
On the Existence of Digital Objects conducts a philosophical examination of digital objects and their organizing schema by creating a dialogue between Martin Heidegger and Gilbert Simondon, which Yuk Hui contextualizes within the history of computing. How can digital objects be understood according to individualization and individuation? Hui pursues this question through the history of ontology and the study of markup languages and Web ontologies; he investigates the existential structure of digital objects within their systems and milieux. With this relational approach toward digital objects and technical systems, the book addresses alienation, described by Simondon as the consequence of mistakenly viewing technics in opposition to culture.
Interdisciplinary in philosophical and technical insights, with close readings of Husserl, Heidegger, and Simondon as well as the history of computing and the Web, Hui’s work develops an original, productive way of thinking about the data and metadata that increasingly define our world.

[proof version/prepublication version] This article comments on a paper titled 'Technique et eschatologie: le devenir des objets techniques' that Gilbert Simondon presented in 1972. For Simondon, eschat-ology consists of a basic presupposition, which is the duality between the immortal soul and the corruptible body. The eschatology of technical objects can be seen as the object's becoming against time. Simondon suggests that in the epoch of artisans, the product through its perfection searches for the 'immortality of his producer', while in the industrial epoch standardization becomes the key mover, in the sense that different parts of the object can be replaced. This analysis of Simondon on the relation between technics and eschatology allows a speculation on the soul of technical objects by tracing his earlier works. This conception of the soul, as this article tries to show, allows Simondon to address the alienation of technical objects in juxtaposition to a Marxist critique of alienation.

FR: Forme et relation – L’inquiétante étrangeté de la scène du matérialisme. Cet article entend chercher un matérialisme largement ignoré dans les discussions philosophiques actuelles, qui tire son origine de spéculations sur la matérialité des formes. En suivant la critique de Simondon et de Heidegger, il rejette l’hylémorphisme en raison de la priorité qu’il accorde une forme pure et abstraite en dehors de la matière ; de même, il se distingue des propositions actuelles qui valorisent un retour à la matière, à l’image de la matière vibrante de Jane Bennett ou du principe de factualité de Quentin Meillassoux, en esquissant une généalogie des conditions matérielle de l’individuation des formes. Cet article s’efforce de comprendre l’évolution du concept de forme au fil des différentes étapes du développement technique : artisanal, machinique ou systémique (au sens des systèmes technologiques), tel qu’exemplifié par le Web. Au fond il entend suggérer qu’une pensée de la matérialité des formes n’est pas seulement concevable mais également et surtout nécessaire au développement d’une métaphysique spéculative et d’une théorie critique des machines.
EN: This article seeks a materialism that is largely ignored in current philosophical discussion, which originates from speculation on the materiality of forms. Following the critique of Simondon and Heidegger, this article rejects hylomorphism which gives substantiality to forms rather than matter; at the same time, this proposition also wants to distinguish itself from the current proposals of a return to matter, such as the vibrant matter of Jane Bennett or the principle of factuality of Quentin Meillassoux, by outlining a genealogy of the material conditions for the individuation of forms. The article endeavours to understand the evolution of the concept of form in different stages of technological development: crafts, machines, technological systems exemplified by the web. The article suggests that the materiality of form is not only thinkable, but also necessary for the development of a speculative metaphysics and critical theory of machines.

数码物最简单的形式就是数据。它也是一种新型的工业物，遍及我们当今生活的方方面面——诸如在线视频、图像、文本文件、电子邮件、博客文章、Facebook活动等。然而，尽管数码物无处不在，其本质仍不明确。

《论数码物的存在》建立起马丁•海德格尔与吉尔伯特•西蒙东之间的对话，将其置于计算机史的语境中，从而对数码物及其组织架构进行哲学考察。如何依据个化与个体化来理解数码物？许煜通过本体论史以及标记语言和网络本体的研究来探求这一问题，他探究了数码物在其系统与环境中的存在结构。借助对数码物与技术系统的关系性研究方法，本书重新描述时间和空间两个范畴，同时通过对现象学与西蒙东的诠释，展示哲学如何介入数码设计以及其所洐生的异化。

《论数码物的存在》跨哲学与技术领域，发展了一种原创且富有成效的方式来思考日益定义我们世界的数据与元数据。

The article questions the two dominant views on media aesthetics – one takes the empiricist stance, and the other pushes forwards a media-technological a priori – in order to posit a third view. This view is transcendental empiricism, which one can trace in the work of Gilbert Simondon and Gilles Deleuze. This article demonstrates this argument with the example of digital objects – the new form of industrial objects composed of data and metadata – and proposes to investigate their aesthetics by articulating three logical operators – induction, deduction and transduction – as correlations to the three views mentioned above.

Much digital preservation research has evolved around the idea of authentic digital objects and their significant properties. However, the nature of digital preservation work continues to be ill-defined. This paper unpacks definitions of digital objects and their significant properties to deconstruct misleading conflations. I review how the use of the terms digital object and significant properties has evolved in digital preservation, and I identify conceptual inconsistencies. By critiquing the system boundaries assigned by different writers to the term digital objects, I explore the metaphorical nature of the concept and show that the discourse routinely ignores the role of computation in favour of artifact-centred concepts of bits and records. As a consequence, I illustrate category errors around what it means to migrate and preserve digital objects. I suggest a reformulation of both terms based on their metaphorical nature and discuss how this reformu-lation aligns with insights from research on electronic records and digital preservation. The discussion shows that digital objects are best understood as a meta-phorical concept that allows us to articulate the emergent properties of computed performances relying on data, software, and hardware. Significant properties are best understood as mechanisms that allow curators to specify shared under-standings of what constitutes authentic reproductions of digital objects. At the core of digital preservation is the design of software-based information systems intended to reproduce authentic digital objects. The article thus contributes to a reframing of the nature of digital preservation and emphasizes the importance of the conceptual frame of computing and systems design in archival education and practice.

This article takes off from what Lyotard calls ‘the immaterial’, demonstrated in the exhibition Les Immatériaux that he curated at the Centre Pompidou in 1985. It aims at outlining a concept of ‘relational materiality’. According to Lyotard, ‘the immaterial’ is not contrary to material: instead, it is a new industrial material brought about by telecommunication technologies, exemplified by Minitel computers, and serves as basis to describe the postmodern condition. Today this materiality is often referred to as ‘the digital’. In order to enter into a dialogue with Lytoard, and to render his notion of ‘immaterial materials’ contemporary, this article contrasts the concept of relational materiality with some current discourses on digital physics (Edward Fredkin, Gregory Chaitin) and digital textuality (Matthew Kirschenbaum). Against the conventional conception that relations are immaterial (neither being a res nor even having a real esse), and also contrary to a substantialist analysis of materiality, this article suggests that a relational materiality is made visible and explicit under digital conditions. It suggests a reconsideration of the ‘relational turn’ in the early 20th century and the concept of concretisation proposed by Gilbert Simondon. The article concludes by returning to Lyotard’s notion of materialism and his vision of a new metaphysics coming out of this ‘immaterial material’, and offers ‘relational materialism’ as a contemporary response.

Using Marxist value theory, in particular the circuit of capital, and elements from Paul Virilio's theory of speed, this thesis argues that digital piracy is an accident of value that occurs when circulating capital crashes into the wall of real time.  During accumulation capital must metamorphose from money into commodities and back into more money and move between the spheres of production and circulation. The faster capital can complete its circulatory movement, the more capital functions to
produce surplus value and therefore more capital can be accumulated. However, there is a limit to this acceleration – if capital accelerates beyond a certain limit it cannot assume its particular forms, which has disastrous effects for the accumulation of capital. I argue that this limit is identical to the limit of absolute speed and that capital can achieve this velocity through adopting telecommunications as its medium. Under the pressure of telecommunications, the extension and duration of capital in space and time is compressed into an instantaneous and ubiquitous moment in real time. When this occurs both the circuit and forms of capital disintegrate.

Engineering and architectural design research has studied the uses of various kinds of artefacts and visual representations like sketches, drawings and design plans. The implementation of Building Information Modelling (BIM) creates a new constellation of instruments and calls for further reconceptualising of the collaborative design process. The paper presents analysis of BIM models as co-­developed intermediary objects in the design. They function both as objects of joint problem solving and as a concrete but dynamic means for collaboration both virtually and in face-­to-­face meetings. We suggest that BIM models provide novel forms of 'virtual materiality': in design meetings BIM models provide a tangible means for designers' collaboration. Versatile indexical use of 3D BIM models dominates discussion and problem solving in design meetings.

Digital art, as a professional field, is a relatively new place and in constant redefinition, it seems appropriate to seek to establish a basis to analyze the digital as a way of thinking. Under this perspective and considering, mainly, the work of Gilbert Simondon about the genesis of the technical object, as well as, the proposal of Yuk Hui about the digital object, this paper proposes the idea of a digital artistic object, and a computer algorithm as a first approach to exemplify the proposal.
Al ser el arte digital, como campo profesional, un lugar relativamente nuevo y en constante redefinición, parece adecuado buscar establecer bases para analizar ​lo digital como una forma de pensamiento. Bajo dicha perspectiva y tomando en cuenta, principalmente, el trabajo de Gilbert Simondon respecto a la génesis del objeto técnico, así como la propuesta de Yuk Hui acerca del objeto digital, se plantea en el presente artículo la categorización de objeto digital artístico, y a su vez, al algoritmo informático como una primera aproximación para ejemplificar la propuesta.

This paper presents the key documents that defined the scope and the role of Europeana. European culture might have been at risk of not playing an important role in a globalised world if a unified strategy for accessing and promo‐ ting it wouldn’t have been developed. Seen as one of the fundamental pilons for the future economic growth, the European cultural heritage is not perceived anymore as a Cindarella, but a fertile ground for the developement of creative industries and scientific discoveries. Despite legal issues on what public domain is and how the copyright should protect an author’s privilege being still open, some solutions are tested in an attempt to increase open access to knowledge and the European culture.

Dieser Aufsatz beschäftigt sich mit der Medienästhetik digitaler Objekte und regt in diesem Zusammenhang zu einem Rückgriff auf die Kant’sche transzendentale Ästhetik an. Den Beginn bildet eine grundlegende Reflexion zur Definition von Daten und Objekten und es wird die Frage aufgeworfen, was der neue Status und damit auch die neue Ästhetik von Objekten in der Folge ihrer Digitalisierung sein könnten. Das rasche Anwachsen strukturierter Datenmengen und die Objektwerdung digitaler Entitäten in Folge der Entwicklungen in der KI-Forschung und zuletzt in den jüngeren Ansätzen zu einem semantischen Netz führen uns auf alte philosophische Fragestellungen zu den Existenzweisen von Objekten zurück. Der Aufsatz unternimmt den Versuch, die vorgeschlagene Ästhetik digitaler Objekte mithilfe dreier Verfahren zu analysieren: Induktion, Deduktion und Transduktion, und er tut dies mit Bezugnahme auf die Theorien Humes, Kants und Simondons sowie auf die Theorien der erweiterten Kognition und des exteriorisierten Gedächtnisses. Den Abschluss bildet die Darstellung eines transzendentalen Empirismus als Synthese, die zu einem Verständnis der Ästhetik digitaler Objekte beitragen kann.

Abstract— As the literature (Juanola; Calbó; Valles, 2006; Fontal, 2003; Calaf, 2009) suggests and from what we saw in our research, heritage education promotes students’ personal development.

During the academic year 2008/09, we carried out a pilot experiment in heritage education through internet within the framework of Catalonia. It brought different actors (cultural managers, teachers, secondary school students and coordinators) into a virtual platform as user and co-producers of digital objects with heritage contents. The study evidences the importance of heritage institutions delivering contents on the world wide web.

This contribution wants to show educational uses of digital objects with heritage contents (images, videos, etc.) so that students of compulsory secondary educational acquire knowledge and skills related to heritage, syllabus core subjects and digital literacy.

Keywords: Heritage education, digital object, skills and knowledge acquisition, lifelong learning.

Abstract. Digital preservation is emerging as an area of work and re-search that tries to provide answers that will ensure a continued and long-term access to information stored digitally. IT Platforms are con-stantly changing and evolving and nothing can guarantee the continuity of ...

Autora: ​Julia Cristina Granetto Moreira

A obra Objetos Digitais de Aprendência para a Educação Mediada: uma cartografia em devir objetiva contribuir pedagógica, teórica e metodologicamente para a criação e elaboração de Objetos Digitais de Aprendência. É uma pesquisa que tem como embasamento teórico as concepções deleuzianas de rizoma, devir, rostidade entre outras, numa tentativa de situar os percursos por onde a pesquisa desterritorrializa e reterritorializa ou se perde em busca de novas paisagens.
Editora: Pimenta Cultural (2019)

ISBN:
978-85-7221-090-4 (eBook PDF)
978-85-7221-089-8 (brochura)

DOI: 10.31560/pimentacultural/2019.904 

The archive was run by the secret “Verband von Museums-Beamten zur Abwehr von Fälschungen und unlauterem Geschäftsgebaren” - sometimes written "Geschäftsgebahren" (Association of Museum Officials for Defense against Fakes and Improper Business Practices). This archive allows the engagement of early 20th century museums in the art market to be traced within specific genres. The goal of the case study and methodology presented here is to learn more about the economic practices of museums.

This paper discusses methodological approaches to app studies, focussing on their embeddedness and situatedness within multiple infrastructural settings. Our approach arises by paying close attention to the multivalent affordances of apps as software packages, particularly their capacity to enter into diverse groupings and relations depending on different infra-structural situations. The changing situations they evoke and participate in, accordingly, makes apps visible and accountable in a variety of unique ways. Engaging with and even staging these situations, therefore, allows for political-economic, social and cultural dynamics associated with apps and their infrastructures can be investigated through a style of research we describe as multi-situated app studies. The piece offers an overview of four different entry points of enquiry that are exemplary of this over-arching framework, focussing on app stores, app interfaces, app packages and app connections. We conclude with nine p...

Resumo

No actual contexto da Sociedade da Informação, tendo em atenção o papel central e fulcral da informação como motor dinâmico das organizações, um dos maiores desafios que se coloca aos profissionais da informação, designadamente aqueles que desempenham funções em arquivos, consiste na criação, manutenção e preservação a longo prazo de objectos digitais autênticos.
Deste modo, a análise do contexto orgânico-funcional dinâmico das organizações e a análise de conteúdo deve assentar nos princípios, conceitos e métodos da Arquivística – disciplina aplicada da área da Ciência da Informação – e da Diplomática Contemporânea, de maneira a fornecer à organização uma compreensão dos contextos administrativo, legal, funcional e social em que opera, para conseguir identificar os principais factores que influenciam a sua necessidade de criar e manter informação e, ainda, para determinar os requisitos que garantirão a autenticidade, fidedignidade, integridade, inteligibilidade e a usabilidade da informação produzida, bem como as bases para a sua preservação a longo prazo.
Considerando que os Arquivos têm como uma das suas missões a preservação e acessibilização da informação no seu contexto de produção ao longo do tempo, é fundamental a intervenção precoce dos seus profissionais na concepção e implementação de sistemas de informação de forma a assegurar que todos os objectos digitais com valor secundário, produzidos por um sistema, sejam preservados como autênticos, fidedignos, inteligíveis e utilizáveis.

Abstract

In the current context of the Information Society, taking into account the central and important role of information as a dynamic motor of organizations, one of the biggest challenges facing information professionals, especially those who play functions in archives, is the creation, maintenance and long-term preservation of authentic electronic records.
Thus, the analysis of dynamic, organic and functional context of organizations and the content analysis - fundamental methodological operation in the construction of scientific knowledge about information - must be based on the principles, concepts and methods of Archival Science – discipline into the scientific area of Information Science – and Contemporary Diplomatics, in order to provide the organization an understanding of administrative, legal, social and functional contexts in which it operates, to be able to identify the main factors influencing the need to create and maintain information and also to determine the requirements that ensure the authenticity, trustworthiness, integrity, significance and usability of the information produced as well as the basis for its long-term preservation.
Considering that Archives have the mission to ensure the preservation and provide access to information in their context of creation over time, it is crucial the early intervention of their professionals in the design and implementation of information systems to ensure that all digital objects with secondary value, produced by a system, are preserved as authentic, reliable, understandable and usable.

"The Internet economy has been conceptualized as a contradiction or symbiosis between commodity and gift exchange. Richard Barbrook (2005) argues that the Internet, with its reliance on non-rivalrous digital data and low cost of copying, enables the existence of a high-tech version of the gift economies that Marcell Mauss (1954) and other economic anthropologists have theorized. Similarly, Christian Fuchs argues that "information gifts form a part of the Internet economy in which goods are distributed for free and openly accessible." Lawrence Lessig (2008) conceptualizes the gift economy as part of read-write culture, which is inherently about sharing. Lessig counterposes “read-write” culture with a commercial “read-only” culture. Read-only objects are subject to copyright and before they can be used permission must be given, usually granted through purchase. Barbrook also recognizes that the same piece of digital code may exist as both a gift and a commodity. Similarly, Fuchs argues that the circulation of digital commodities form part of a sub-system of the Internet economy that is controlled by intellectual property rights.

This paper, while agreeing with Barbrook, Fuchs and Lessig that the Internet economy is a contradiction between gifts and commodities, will argue that these theorists have focused only on appearances and have not recognized the fundamental contradiction of the Internet. Basing this argument on another iteration of Marx's argument that exchange “produces a differentiation of the commodity into two elements, commodity and money, an external opposition which expresses the opposition between use-value and value which is inherent in it” (1976:199), I will argue that gifts and commodities are the forms of appearance, or expression, of the fundamental and internal contradiction of the Internet economy. Conceiving the Internet as a real-time environment, the paper will argue that the internal contradiction is temporal: between simultaneity and immediacy"

Exploraciones preliminares para una ontología de los objetos digitales En la vida cotidiana hemos visto emerger una categoría de objetos de los cuales predicamos como objetos digitales o elementos a los cuales les reconocemos una cierta cualidad de digital pero ¿qué es propiamente el ser digital? E incluso, ¿de qué manera pensamos aquello que es digital? Mi propósito en la presente exposición es aproximarme al fenómeno de lo digital y proponer unos elementos conceptuales que ayudarían a establecer una ontología de los objetos digitales así como la posibilidad de 5 hablar de una mentalidad digital. Quisiera usar como punto de partida el artículo de Yuk Hui ¿qué son los objetos digitales? Donde elabora una trayectoria del estudio ontológico de los objetos técnicos que nos sitúa en una relación ontogenética entre ambos objetos y señala, por una parte, la insuficiencia de la tradición filosófica (refiriéndose desde Aristóteles hasta Husserl) para comprender lo digital pues, distinguir entre la 10 substancia (sujeto) y los accidentes (los predicados del sujeto), así como entre materia (de lo que está hecho) y forma (del tipo que es) parece no ser el abordaje adecuado para una clase de objetos que muta tanto en forma como materia. Incluso Hui refiere que en la fenomenología husserliana, que se aproxima a la experiencia desde un punto de vista intencional, la ideación reconstituye el horizonte donde aparece la idealidad del objeto. Pero los objetos, son en todo caso objetos de la experiencia 15 sensible y los predicados son cualidades de la experiencia, mientras que los objetos digitales parecen referirse a una suerte de inmaterialidad y por tanto sus predicados y cualidades se alejarían del modelo husserliano. Por otra parte, el autor reconoce la riqueza teórica de los trabajos de Gilbert Simondon, que se interesa por las máquinas desde el contexto posterior a la revolución industrial, quien propone un orden granular entre elementos, individuos y sistemas técnicos para hablar de la 20 composición o acoplamiento de objetos técnicos, de manera no jerárquicas ni estáticas y que permite entender las relaciones entre elementos, cuya esencia técnica se daría de manera manifiesta en entelequia. Sin embargo, Hui señala la aparente limitación de entender al objeto técnico únicamente a través de la visión simondoniana y considera que las apreciaciones fenomenológicas antropocéntricas como las planteadas por Heidegger son más relevantes para su propósito de entender el objeto digital 25 como todo aquello que se encuentra en la red de internet.

This paper will investigate the relation between the process of individuation conceived by Gilbert Simondon and the notion of the dividual sketched by Gilles Deleuze in his Post-scriptum sur les sociétés de contrôle (1990).
Exploring the recently published essay L’homme et l’objet (2018), the paper will start by offering a general perspective on the relation between men and the object as conceived by Simondon, with specific attention to the notion of objet enveloppant (22).
Then, by sketching the difference between a fully automatic machine and machines with a great degree of indeterminacy, the paper will address the technical tendency towards indeterminacy concretised by digital technologies and how the latter are creating an unprecedented enveloping object.
As it will be argued, the exponential increase in the degree of indeterminacy of digital machines entails a significant change with respect to the notion of circulation. As a consequence of this, if with Leroi-Gourhan we see that and how objects circulate among individuals, playing a crucial role in the “invention of men”, with the Digital as an enveloping object this paradigm is overturned in a unique way: in the age of digital technologies, men circulate also and foremost within a technical object. If we think about pre-digital and also non-technical enveloping objects, this doesn’t appear as an entirely new dynamic: man circulates in all sorts of objects, from ancient temples to the engines of ocean liners. However, once we consider the cyberspace as an enveloping object, something new happens: as pointed out by Deleuze, in fact, the individual that circulates in the Digital becomes a dividual.
The key to a description of the process of individuation of the dividual will be obtained through a comparison between the critique to the hyleomorphic model and Deleuze’s account of the moulds on the basis of which Foucauldian disciplinary societies operate, a parallel against which the process of modulation operated by control societies will to be assessed as correspondent to the process of individuation.
This analysis will lead to the reconsideration of the status of objects. Moving away from the view that ‘voit dans l’objet tout ce qui n’est pas l’individu lui-même’ (11), to consider a new status of the object, originally proposed by Deleuze in his work on Leibnitz, and clearly incorporated by digital technologies, the paper will describe the nature of digital objectiles.
Offering a way to overcome the traditional difference between subject and object in its digital transmutation, the paper will therefore address the nature of the process of individuation of the dividual, describing the status of the latter not as a subject, but as an objectile in course of individuation, and from the point of view of the apparatuses of capture of the digital, through the eyes of the machine. To conclude, the paper will argue that especially in relation to the process of individuation of the dividual, and of the status of digital entities, one should speak of objectiles instead of objects, and define the nature of the latter.

Understanding differences between digital and physical objects, and people's perceptions of those objects, is a matter of foundational importance to CHI. These differences affect how people interact with digital objects and what roles those objects are able to take on in daily life. The goal of my research is to investigate these differences in the case of books, and to investigate how the affordances and limitations of paper books and e-books affect the possibilities for their use in high-level activities.

In this article, we aim to understand how the notion of deep mediatization, proposed by Couldry and Hepp, can be an important reference for communication studies, taking into account the nature of platforms and digital objects. In this direction, it was also necessary to reflect on the cultural forms assumed by these new communicational environments. Among them, we can highlight the culture of search, the algorithmic culture or the data-driven culture. Advancing in these reflections, we try to point out how the particularity of digital objects, in this case, logjects, can help us to contruct hypotheses of investigation to understand the deep contemporary forms of mediatization.

Не говоря уже об оптимизме ранних теоретиков киберпространства, констатация факта, что мы втянуты в социальные сети и окружены со всех стороны цифровыми объектами, тревога касательно того, что сами мы оцифровываемся и теряем свою идентичность, или революционное открытие зловещей сущности современного сетевого капитализма, эксплуатирующего каждый наш клик, каждый наш поисковый запрос – все это довольно давно набило оскомину. Вопрос заключается в том, что мы знаем о ситуации современности. Знаем ли мы, что такое дигитальный объект и дигитальная среда? Умеем ли мы обращаться с этими объектами, ориентироваться в этом пространстве? Может быть, узнав эти новые вещи как подручные, мы поймем, что от нас требуется не снисходительное их принятие или высокомерное отвержение, но – забота о них, бытие с ними? Эти вопросы являются центральными в философии Йука Хуэя, недавно выпустившего книгу On the Existence of Digital Objects, («О существовании дигитальных объектов»). Название недвусмысленно отсылает к Du mode d’existence des objets techniques Жильбера Симондона, о котором в этом разговоре очень часто заходит речь. Кроме того, мы поговорили с Йуком о хайдеггерианском искусственном интеллекте, о миллионной армии роботов в темной комнате Foxconn, о дигитализации как поле боя, о душе техники и эсхатологии технических объектов и многом-многом другом.