Jeffrey Shaw is one of the pioneering new media artists who has been actively producing since the transition of image and sound to technology-supported virtual images, which started in the 1960s, and who can establish and demonstrate the delicate balance of the virtual and the actual. Shaw's works for expanded cinema, interactive spaces, and haptic media; It aims to completely change the traditional relationship between the object and the audience by reflecting the audience's role of witnessing reality to technological and hybrid spaces. To uncertain the boundaries of the space, the artist creates an embodiment in worlds where the viewer can construct meaning by enabling both physical and intellectual interaction with the environment. This study is based on a Neo-Bergsonist idea of embodied aesthetics, demonstrating Shaw's pioneering role in new media art, in an expanded present moment, the concept of affect and its potential carrier, embodiment. This idea of aesthetic thought is an expression of a return to the French philosopher Henri Bergson, who is known for his theories of duration and memory, a return to affect. The idea of return is handled based on sensation, focusing on a Bergsonian aesthetic analysis through Shaw's new media works. How Bergson's contemporary representations of digital time can be revealed through the body, within the Neo-Bergsonist aesthetic experience, can be traced through Shaw's layered and self-conductive Place-Hampi work.