The traditional playground game of generations of children ‘What’s the time, Mr Wolf?’anticipates a metaphor for time that is neither teleological nor digitally networked, but expressed dynamically in terms of folding. If it is Two O’clock, Three O’clock, Four O’clock or any other O’clock, the players may creep towards the big bad Wolf, who has her back turned, with the aim of touching the wall first. But, if the wolf turns and howls that it is ‘Dinner Time’, the players shriek and run like hell to escape being eaten, and the horror of becoming the big bad Wolf themselves. Children delight most not in O’clock Time but in weathering the consequences of the unpredictable Dinner Time. The enjoy the moment of devouring, of terror, of pleasure and fulfilment (for the wolf); of fearful transformation, of the process of becoming for the losing player, and of rapid movement that is not pinned to a particular time, but is experienced as anytime or perhaps all times folded together. This tumultuous, changing and dynamic sense of time, is perhaps why the philosopher Michel Serres delights in the fact that in French the word for time (temps) is the same word for weather (1995). 1 While previous chapters have focused on particular case studies examining the ways in which media technologies shift our temporal horizons, this chapter asks how the mediation of time through digital technologies may require a new epistemological framework to understand time. How is time to be conceptualised and understood in the ‘globalised’digital media era, in which mobile phones and networked time intermediate a range of temporalities? What form of analysis is needed for the media and social theorist to investigate time? Digital technologies, digitisation and what was coined by Nicholas Negroponte2 as digitality,