Everywhere we look, hear and feel in contemporary art and life, digital computational technologies seem to be overtaking our senses. But what does this mean? Historically, from eyeglasses to microscopes and hearing aids to prosthetics, “the human sensorium has always been mediated” (Caroline Jones). But it seems that new forms of sensation are now supplanting senses we originally thought were reserved for humans. From the accelerometers in our phones to the Fitbit we wear or the high-speed cameras in satellites that circle the globe, the entire world is increasingly “sensed” across different spatial and temporal scales: the molecular, the bodily, the population, and the planetary. In fact, we increasingly may have the distinct impression that the culturally shaped ways we have historically made sense are becoming unglued by continually being reformulated, re-captured, monitored, analyzed and re-marketed to us. As Marx stated, the formation of the five senses was always seen as “a labour of the entire history of the world down to the present.” Yet, this statement has also become a flash point for an extraordinary contradiction: that is, what role does and can the aesthetic and artistic play in a historical moment as ours in which the sensorium is both expanded and, simultaneously produced and shaped by new forms of technologized attention and control?