Computational Aesthetics in The Practices of Art as Politics 

The practices of art as politics are perhaps most challenged today by the interrelated expansion of digital technologies and the intensified commodification of human processes. In what follows I want to address this challenge by focusing on the recent turn to ontology by philosophers who are reevaluating the potentiality of objects.  I want to propose that the ontological turn—whether it be elaborated in object-oriented ontologies or in process-oriented ontologies, is registering the trauma of the development of the capacities of digital technology and the ongoing commodification of human processes: that is, the trauma of realizing that potentiality is not, or not only, a matter of human consciousness, human cognition or human agency. The philosophical assumption that there is a primordial rapport between human and world, or that there is a correlation between knowing and being, has been unsettled with traumatic effects. Patricia Clough

So the undercurrent is that digital technologies, the internet, tweets, and an increasing use of non-human interrelated technologies that we are educated into using are changing both the traditional aspect of art in politics and introducing new ways to express oneself politically in using these technologies in art. 

Awareness of affect as a technical artifact, commodities now are designed as objects that can stir affect; as most social media fits into this area. The world is changing where by non-human agencies have just a big political effect on us as human agencies do. There is both a registering of this in contemporary generative art that is political using data mining from social media and websites and in our own experiences of everyday life activities becoming more digital in nature (from health, love, shopping etc). The world we traverse is becoming so intertwined and interwoven with the digital so much now that we sometimes place more political weight on the digital than in the physical world.