Today's political conditions - dominated by the global spread of far-right ideologies and governments - make it necessary to reflect on the political dimension not only of art but of aesthetics itself. Using the theories of Walter Benjamin and Vilém Flusser, this article analyses the relationship between aesthetics, technology, and politics, questioning why the digital world has proven to be a fertile ground for the aestheticisation of politics in a late-fascist key. While Flusser shows how technical images program subjects, Benjamin helps us understand how the recursiveness of the digital world favours the spectacularisation and aestheticisation of political discourse. Finally, I will also examine how the aesthetic-artistic gesture becomes a political act capable of activating practices of resistance and outsmarting the pervasive algorithmic infrastructure of the digital world.