 Summing up this view, it supposedly follows from the fact that modern (digital) computers encode every kind of information in the same way—i.e., as a sequence of binary digits—that an artwork that crucially relies in its production on computer processing is no longer defined by its mode of presentation, whether in images, moving images, sound patterns, or text. A work’s display is rendered merely contingent by the fact that it is generated from a common code. By adding a particular instruction to the code sequence specifying a work, imagery associated with that work could be instantaneously converted into sounds or text, or just into different imagery. This possibility alone supposedly renders meaningless all talk of an artwork being in a particular medium and being properly appreciated in terms of that medium (Kittler 1999; Doane 2007).