A thousand and three sexemes: Don Juan as the conceptual persona of computational ontology.

This article examines the myth of Don Juan as a conceptual persona for computational ontology, a framework that synthesizes elements through calculation and composition, paralleling Flusser's shift from an extensive, additive "way of the computer" to an intensive, iterative "way of the camera." It explicates Don Juan's threefold computation—of sexual love, composite women, and himself—as an autopoietic, holographic process akin to Pointillist art, highlighting the probabilistic and relational nature of this ontology. The article contrasts Don Juanism's quantitative, objectifying approach with a multi-perspectival, phenomenological alternative, ultimately proposing a reconciliation between computational and relational ontologies that reflects both additive and intensive modes of progress. This analysis situates Don Juan within digital culture and technical image theory, emphasizing the aesthetic and algorithmic dimensions of life as a work of art.