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The ego, i.e., the self identity, has always constituted a central category of interpretation in the humanities and social sciences. Over the course of the technological revolution, the conditions for the formation of the ego and I-presentation have changed fundamentally. The contributions to this volume show that the ego has adapted to the size of media design procedures which can be undertaken. The idea of an autonomous ego is increasingly rejected; enter the alternative notion of I-conceptions, characterized by instability, rejections, fractures, and identified impressiveness. The self is no longer a given but rather the result of narration, presentation, and simulation.