After a discussion of X (Twitter) and the kinds of feelings, sentiments, and practices that it engenders in users, Chapter 7 explores what people do on screens: the social practices, thinking, and being that occur in postdigitality. Pursuing the mission of the book to seek the human in the machine, this chapter attends to how crescent voices act at screens, discovering the many learned and habituated digital literacy practices which allow screen users to perform their identities multimodally in multitudinous and diverse ways. Based on interviewee accounts, this chapter offers a model of postdigital practices which employs the concepts of fishbowls, antholes, rabbitholes, and wormholes, while also drawing on Charles Taylor’s social imaginaries.

The final chapter serves to draw the various strands of the book together, surveying what has been discovered, and expanding on the fundamental arguments of the book. It therefore begins with an analysis of Pinterest, which stands as an emblem of all that literacy means in postdigital times, whether that be sophisticated multimodal practices, durational time, or algorithmic logic. Looking back over the screen lives discussed in the book, including those of the crescent voices and of Samuel Sandor, this chapter crystallizes the personal take on screen lives that the book offers, reiterating the need to ‘undo the digital’ and find the human in, on, with, at, and against screens. It also presents some of the problems scholarship must meet, such as digital inequalities, whether that be in terms of time, awareness, or skill with technology. However, despite the considerable negative forces at work in screen lives which the book has taken care to unravel, this concluding chapter advocates ‘taking the higher ground’ and enacting wonder in interactions with screens.

This chapter introduces the book, laying out its central questions, including what it means to be postdigital, what diverse kinds of life and humanity can be found in screens, and what new technologies such as automation and AI might mean for screen lives. Chapter 1 also describes both the background and aspirations of the book, as well as its structure and a guide on how to approach reading it. Beyond discussing the defining research questions, this chapter also details the ideas underpinning the book, including the notion that there has been a tangible shift between how we related to screens a decade ago and how we do now. In addition, the book is guided by an awareness of the often conflicting and intricate relationships people have with screens, as well as the concept of the ‘smallness of screen lives’, inspired by Deborah Hicks’ notion. The Comfort of Screens is a tapestry which unfolds a story of postdigital life, sewn from the fabric of 17 people’s screen lives, interviews with whom form the backbone of the book. These ‘crescent voices’ are also introduced in this chapter.

Opening with an analysis of Instagram, Chapter 2 is concerned with how to think about postdigitality. Touching on multimodality, time-space-place, and responsive loops, this chapter highlights the contrast between digital life and postdigital life, unravelling the many dimensions of postdigitality. It concludes that postdigitality represents a world of symbiosis, whether that be of body and mind, physical life and screen life, representation and non-representation, immersion and connectivity, or interaction and convergence. These combinations are what lends digital media its unique power to move across time, space, and place. To explore these ideas, Chapter 2 analyses data which has been processed through ATLAS.ti to produce a list of postdigital keywords used by crescent voices.

This chapter begins with a reflection of the Find My iPhone app, employing it as an example of how physical and digital place can exist simultaneously and in interconnected ways. Afterwards, it turns to explaining the notion of physical-digital place as parallel universes, subsequently unravelling this idea through strands taken from across crescent voice interviews. The emphasis of this chapter is on place, or more specifically the intermingling of physical and digital places, whereby the commitments, practices, and imaginaries of screens can shape one’s understandings of place and allow one to form a consciousness that is a kind of home. By employing notions of the ‘digital home’, social imaginaries, digital twins, and a postdigital concept of community, this chapter unsettles the binary between digital and physical spaces, employing Dezuanni’s definition of community to help get at the ways that online spaces feel like home. It explores these ideas primarily through crescent voices and their experiences of the Covid-19 pandemic, an event which lent more prominence to practices such as digital twins.

Chapter 4 delves deeper into screen life, adopting an even more human-centred focus, in order to uncover the affective aspect of screen lives. Maintaining an embodied approach, this chapter explores how affective experiences with screens are intentionally elicited through how media is designed, how affect on screens might differ from affect outside screens, and how digital affect can inform practices, and practices induce affect. The chapter begins by defining affect, then digital affect more specifically, before turning to interviewees for their perspectives on how they feel and sense on screens, touching on topics such as micro digital affect, algorithms, and the pandemic. Crescent voices in this chapter help illustrate how digital affect is vital to understanding digital literacy practices and screen lives, especially the double-edged aspects of our affective relationships to screens.

This chapter, which opens by employing Forest as an example of an app which aims to help people avoid procrastinating on screens, is concerned with screen time. In particular, it discusses postdigital temporal rhythms, or the ways in which people experience time on, at, with, and against screens. Drawing on Henri Bergson’s theory of time, Chapter 6 situates durational time within a new, postdigital context, where free-flowing subjective time on screens is mediated by what Bergson terms qualitative multiplicity. These ideas are discussed against a backdrop of reflections from crescent voices, including data processed by ATLAS.ti, which tabulates what interviewees had to say about time and memory on screens. The chapter observes a trend in interviewee responses that experiences of time on screens were very often described as being strongly intuitive. Crescent voices frequently lost track of time in habitual movements on screens, a slip which interviewees found could give comfort by offering a break from clock time. Expanding on this, the chapter elaborates how screens disrupt notions of time as a predictable, measurable entity.

Moving on to AI and algorithms, the penultimate chapter of the book focuses on the importance of vigilance and criticality when engaging with screens. The influence of AI and algorithms on day-to-day interactions, their inherent potential to steal content, and their tendencies to stir up racism and intolerance all mean that it is becoming increasingly vital for researchers, policymakers, and educators to understand these technologies. This chapter argues that being informed and armed with meta-awareness about AI and algorithmic processes is now key to critical digital literacy. In arguing towards this conclusion, it starts by presenting scholarly perspectives and research on AI and literacy, before turning to Ruha Benjamin and Safiya Umoja Noble’s research into racism in AI and algorithms, including Benjamin’s concept of the ‘New Jim Code’. Crescent voices are invoked to contextualize these ideas in real world experiences with algorithmic culture, where encounters with blackboxed practices and struggles to articulate experiences of algorithmic patterns serve to demonstrate further the importance of finding new constructs for critical literacy that encompass algorithmic logic.

After exploring the multimodal effects of BeReal, and the way in which it foregrounds place and event, this chapter explores the work of Hayles, Barad, and Braidotti, before utilizing New Literacy Studies to explore contrastive socio-cultural and social practices. The chief focus is on teasing out a theory of digital-materiality: not only what materialities and modes are present on screens, but also what inferences, values, and agendas these materialities carry. Postdigital lives entail entirely new relationships with materialities, though this does not mean a break with the physical and embodied, since postdigital life also contains many embodied ways of engaging with screens, ones which work across both the physical and the digital. This chapter attempts to conceptualize the distinct logic that people use to understand screens, while striking at more lived understandings of literacy. Consulting crescent voices on where they find comfort in their screen lives, this chapter reconciles people’s conflicting desires to pursue a flesh-and-blood life away from screens, as well as to use their screens to manifest and actualize the real aspects of their lives.