<p>This article presents a postdigital mode of inquiry for tracing political subjectification among Chilean youth on TikTok through affective economies (Ahmed) and genres (Berlant) from a Majority World perspective. Rather than treating digital and non-digital as separate spheres, our approach understands TikTok as a postdigital Discursive-Material assemblage where socio-material relations among humans, platform affordances, and algorithms co-constitute political becomings and affective attachments. Our methodology comprises three interconnected domains—Observation and Mapping, Circulation and Norms, and Historical Discursive-Material Surfaces and Speculations—designed to trace how affects emerge, circulate, and accumulate value across human and non-human elements. We apply this framework to analyze two TikTok videos from young Chilean creators: an Indigenous creator whose video demonstrates ‘genre collision’ between cultural celebration and documenting state violence, and a right-wing creator whose bangs operate as an unhappy object that disrupts expected aesthetic-political alignments. Our findings reveal that political education on TikTok operates through ‘affective pedagogy’—learning that occurs through embodied responses, genre disruptions, and lateral agency rather than rational discourse alone. The analysis shows how non-human agents function as active political mediators, and how platform affordances participate in co-constituting rather than merely distributing affective economies. This methodological contribution offers researchers experimental tools for understanding postdigital political phenomena through affect theory, demonstrating how political subjectification emerges by sticking together human intentions, material objects, and digital platform dynamics while foregrounding autonomous knowledge production from Majority World contexts.</p>