From red heart emojis we use on Facebook to light blue buttons on Instagram pressuring us to post content – matcha lattes, fluffy cats, niche memes, you name it -, the design and marketing of platforms we use on a daily basis are structured around a core ideology: seamlessness. Seamlessness is the desire to obfuscate these platform’s “seams” and the technical logics – algorithms, protocols, codecs – at play when interacting with content. What these platforms consciously hide is, to put it differently, the way they manipulate our data as well as our attention1. They slice, moreover, the experience of scrolling online into ‘jittery, schizoid intervals’2 giving us the impression that, in addition to their lack of materiality due to their minimalistic interfaces, they annihilate time. In opposition to these behaviours and intentions, the design theorist Matt Ratto urges us to design for “seamfulness”3. Seamfulness – as opposed to seamlessness – materialises a broader intention to shed light on these platform’s seams. This desire comes moreover with a specific will: focus on the various actors, and procedural rhetoric4 revealing how these platforms operate, intentionally craft specific socio-technical interactions and make us inhabit the world in a specific way. Emphasising on the seamfulness also means, from my perspective, to engage as artists and designers with three specific postures bridging theory with fieldwork and practice. I argue through this article that embracing these postures is foundational inside our arts and design practices and pedagogies in order to crack open these platform’s opacity and blackbox5 resulting from their seamless design. The first one is to contextualise and trace the emergence of these technical objects through what anthropologist André Leroi-Gourhan calls their chaîne opératoire6: mapping their sequential and chronological processes occurring from their production and optimisation to when they reach their end of life and are discarded. The second one, centred around the concepts of the critical technical practitioner7 and making8, urges us to engage – as artists and designers – with methodologies coming from social sciences in order to demystify and understand how these platforms operate in the real world9. The third and final posture the article puts forward opens the door to the importance of “conversational pieces”10 where technology is used as a medium to critique and nuance the dominant tropes and narratives it conveys.