The following text has its origins in a conference at the National Higher School of Decoration Arts, in the framework of a colloquium entitled ‘organogenesis. For a new paradigm of research in art and design *’. The arguments of the colloquium, strongly inspired by Bernard Stiegler’s aesthetic thinking, included the following: “While we now need to rethink a new political concept of art and design as an alternative to monitoring and instrumentalisation of influences through cultural capitalism, the general organology, defined as an instrument science, places the question of technology at the foundation of art and design research.” Through the conference, images embodying what digital industries are doing to people and the “answers” of media-archaeological art * * have to be rethought. As these images are the very subject of this text, I considered it unnecessary to comment on them. * International Colloquium, 15-16 October 2015, organised by Igor Galligo (EnsadLab/Iri-Centre Pompidou), Samuel Bianchini (EnsadLab), Everardo Reyes Garcia (Labsic, Université Paris 13), Bernard Stiegler (Iri-Centre Pompidou), with the support of Labex ICCA (Industries Culturel et Creation Artistic). * * In the order of appearance: Gold Revolution (Quentin Destieu, Dardex collective), ADM (AntiDataMining) VIII (RYBN), Windows93 (Sys 42 — Jankenpopp -Zombectro), ReFunct Media (Benjamin Gaulon et al.), Sprint # 1 (Scrumology Prod), LogForData K7 (Project Singia), The Pirate Cinema (Nicolas Maigret)... These artists, with the exception of Nicolas Maigret, met from 11 to 18 December 2015 at the Frankenstein Media exhibition at the Ceccano d’Avignon Media Library — where Athanasius Kircher lived and worked (1602-1680), an inexhaustible source for media-archaeologists around the world.