This research aims to investigate how pornoculture (Attimonelli & Vicenzo, 2017) is produced in self-pornographic practice on digital social networks, taking communities of Twitter as empirical objects of analysis. Considering the current media production and consumption mode, which Henry Jenkins (2009) attributes to the phenomenon of media convergence, we start from the understanding that consumers of cultural industry products, especially here in the porn industry, take an active position in the process of reception, not only through interaction with the broadcaster, but also through interaction with other consumers in forums and fan communities, echoing, remixing and expanding the fictional universe through the appropriation of media language (film, television, among others) . Although the new information and communication technologies were not the founding causes of media convergence, as Jenkins points out, it is through the socio-technical networks that this process is accentuated and reaches deeper and deeper levels in the social fabric. In this scenario, in which there are also transformations in the field of intimacy and visibility, ongoing since the previous centuries (Sibilia, 2008; Del Priori, 2014; Han, 2014), and of the relations of consumption and capitalist production (Baudrillard, 2007; Lipovetsky, 2007; Rolnik, 2019), digital social networks have been used as important fields for experiencing sexualities, whether in the mediation of sexual and amorous encounters, or in the production, consumption and sharing of pornographic content. This is the case of self-pornography, in which ordinary people share stories, videos and photos of their own sexual experiences online, reflecting not only the current state of media consumption and the transformations of intimacy, but a sexual grammar that inhabits the social imaginary. and composes a language constructed by the global pornographic industry, in what Attimonelli & Vicenzo call pornoculture, as well as a reflection of the capture of these practices by the market that, among many other issues, are present in the pharmacopornographic dimension (Preciado, 2018).