Abstract: The historical technological transformation conditions the socio-economic and political relations between individuals in the given world, as well as, ontological changing of the human sensorium and of the human being itself. As Marx already pointed out, the technology exemplifies the interaction between human beings and nature and changes the way in which human embodiment is historically constructed and experienced. According to McLuhan, the extension of the sensorium by technological dilatation produces new ratios or proportions among all the senses. McLuhan highlighted that the extended faculties and senses constitute a single field of experience, which demands that they become collectively conscious. My aim is to examine this assertion in the context of thinking the "emancipatory new" in a so-called New Media Art in the present, post-Fordist state of affairs. If the power of the (new) media is to be found in the very possibility to change the way individuals interact with one another, according to the theoretical point of departure by Marshall McLuhan, the artistic emancipatory change should be thought as the singular change towards materialisation of the dis-sensus communis regardless any new "technology".