The composition available on YouTube by Iñigo Orduña and Claudio Molinari, 'Homo Modernus: Tractatus Philosophicus' (2009), is a reflection through textual animation on the digital society and its precepts. The animation was selected for the final of YouTubePlay organized in 2010 by the Guggenheim Museum in Bilbao and, according to the authors, is "the animation that the robot-daughter that Ludwig Wittgenstein and Marshall McLuhan would have made, in a parallel universe ”. This work is reminiscent of 'Dakota' by Young-Hae Chang, as it also consists of a temporary narration where the text is the protagonist. On this occasion, the white typography on a black background takes place while a robotic voice recites what is happening on the screen. The animation presents thirteen philosophical rules that reflect on the characteristics of the digital society and informational capitalism. The very presentation of the text on the screen works as a reflexive tool, materializing, in some way, thanks to animation and digital design, the idea that is expressed on each occasion. Thus, each of the points in the treatise has its own animated language, although they all maintain a similar compositional and performative aesthetic and logic. For example, in point 4.1.2. the animation is happening on the screen while certain words appear that say “Homo Modernus does not reason. Cut and Paste images to form a drinkable speech”; at the same time, the sound of the cut and paste keys accompanies the appearance on the screen of an image of the “Ctrl and E” keys, and the text is selected and disappears as if it had been cut and taken somewhere else.

The time of this piece can be controlled, as it is available on YouTube as one more video on the network and is also fragmented into independent videos of each of the concepts. However, the time is clearly an internal time of the work, the time of the discourse. Here, too, one plays with the transformation on various occasions of the language that it performs, appearing and disappearing, expanding, reducing or transforming itself. The loop is also a resource that appears throughout the work in the form of a "philosophical loop" that is also addressed in the very movement of the words "philosophical loop or double communicational loop", which remind us of Manovich's argument (2002 ) on the use of recursion by the Flash generation and that also handle examples such as the gif works of Ana María Uribe or the compositions of Young-Hae Chan: in the latter, the repetition of words or phrases is always used as a chorus or coda that helps the immersion, the cadence and the recovery of attention in an over-stimulated screen.

Although these practices do not imply an interceded temporality for the reader, they are electronic practices, because, although they have cinematographic characteristics and logic, they are produced by means of software and have not been filmed. In this sense, its performative, although it seems simple, is also programmed under a structure contained and provided by the software that produces movement, transformation and mutation.