This article conceptualizes the experience of self-tracking as flow, a central technique, utilized by digital media companies to hook their users. We argue the notion of flow is valuable for understanding both the temporal lock-ins of self-tracking practices in sequences and repetition, and the way self-tracking technologies thrive on data sequences for retaining users and creating viable businesses. To substantiate this, we present a qualitative empirical study of how users experience flow when tracking various aspects of their personal lives. Users find self-tracking technology and the metrics they generate to have much more limited relevance and thus guide their attention elsewhere. If they are hooked, they are so in ways different from those projected by the technology. Users find meaning in their self-tracking in moments of registration, allocution, consultation and conversation, but also problematize their attachment to specific temporal tracking regimes.

It has become increasingly common to talk about “digital traces”. The idea that we leak, drop and leave traces wherever we go has given rise to a culture of traceability, and this culture of traceability, I argue, is intimately entangled with a socio-economics of data disposability and recycling. While the culture of traceability has often been theorised in terms of, and in relation to, privacy, I offer another approach, framing digital traces instead as a question of waste. This perspective, I argue, allows us to connect to, extend and nuance existing discussions of digital traces. It shows us that data traces raise questions about not only how data capitalism tracks individual and multiple data behaviours, but also how it links to social and environmental toxicities in the form of abuse and environmental pollution, which follow gendered and colonial structures of violence.

A new examination of mass digitization as an emerging sociopolitical and sociotechnical phenomenon that alters the politics of cultural memory. Today, all of us with internet connections can access millions of digitized cultural artifacts from the comfort of our desks. Institutions and individuals add thousands of new cultural works to the digital sphere every day, creating new central nexuses of knowledge. How does this affect us politically and culturally? In this book, Nanna Bonde Thylstrup approaches mass digitization as an emerging sociopolitical and sociotechnical phenomenon, offering a new understanding of a defining concept of our time. Arguing that digitization has become a global cultural political project, Thylstrup draws on case studies of different forms of mass digitization—including Google Books, Europeana, and the shadow libraries Monoskop, lib.ru, and Ubuweb—to suggest a different approach to the study of digital cultural memory archives. She constructs a new theoretical framework for understanding mass digitization that focuses on notions of assemblage, infrastructure, and infrapolitics. Mass digitization does not consist merely of neutral technical processes, Thylstrup argues, but of distinct subpolitical processes that give rise to new kinds of archives and new ways of interacting with the artifacts they contain. With this book, she offers important and timely guidance on how mass digitization alters the politics of cultural memory to impact our relationship with the past and with one another.

From global search engines to local smart cities, from public health monitoring to personal self-tracking technologies, digital technologies continuously capture, process, and archive social, material, and affective information in the form of big data. Although the use of big data emerged from the human desire to acquire more knowledge and master more information and to eliminate human error in large-scale information management, it has become clear in recent years that big data technologies, and the archives of data they accrue, bring with them new and important uncertainties in the form of new biases, systemic errors, and, as a result, new ethical challenges that require urgent attention and analysis. This collaboratively written article outlines the conceptual framework of the Uncertain Archives research collective to show how cultural theories of the archive can be meaningfully applied to the empirical field of big data. More specifically, the article argues that this approach grounded in cultural theory can help research going forward to attune to and address the uncertainties present in the storage and analysis of large amounts of information. By focusing on the notions of the unknown, error, and vulnerability, we reveal a set of different, albeit intertwined, configurations of archival uncertainty that emerge along with the phenomenon of big data use. We regard these configurations as central to understanding the conditions of the digitally networked data archives that are a crucial component of today’s cultures of surveillance and governmentality.

Geolocation as an increasingly common technique in dating apps is often portrayed as a way of configuring uncertainty that facilitates playful interaction with unknown strangers while avoiding subjecting the user to unwanted risks. Geolocation features are used in these apps on the one hand as matching techniques that created links between the user and potential partners through geographical location, and on the other as warranting techniques that can help a user to determine whether to trust a given profile. Tracing a trajectory from Georg Simmel's figure of the stranger as intrinsic to modern urban culture, through Stanley Milgram's familiar stranger as an inspiration for the infrastructure of social networking sites, to a consideration of the double perspective of overview and embedment inherent in geolocation's ability to map, we identify the stalker as an emblematic figure that appears not as a threatening Other, but rather as our own doubling.