The seams constitute, practically and metaphorically, the visible part of the objects assemblage. This term is often used in design to identify two opposite tendencies: hide the signs that manifest the composition of an object (seamless) or highlight them (seamful). This text proposes an artistic research that reflects on the aesthetics of seams, merging design theory and media studies, in order to acknowledge some aspects of the relationship between human and technology. The motivation behind this approach aims to returns a certain degree of transparency to the media objects, believing that this can help to recognizes the politics embedded in the contemporary production, and its infrastructures. An artistic research of this kind, required a broad transdisciplinary enquiry that touched several cultural fields. With speculative method it focuses in three artworks made by the author, used as cases of study for an analysis of media aesthetics, and as examples of a methodology that concentrates in the specificities of media, following a post-media practice. In fact, the development of the projects introduced here, relies on the idea that the artistic practice should be based on the "invention" of the "artistic medium". In this way the art object become a framework where the seams emerge, exposing the essence and potentials of technology and media. The research behind this text brought attention to some aspects that proposed the next directions for the further developments of this artistic practice. Mainly, it has been acknowledged that the works must creates frameworks where a certain processuality is triggered. It requires the definition of a set of conditions that can unfold behaviours of different kinds.