This article discusses the theme of an aesthetic for the beginning of the 21st century, based on concepts of audiovisual production nowadays. The term audiovisual, reinterpreted by Vilem Flusser, means the mutual breakthrough of traditionally conceived 'image' and 'music', both gaining the informational status of technical image. Starting out from other authors' observations on the approximation of this image with musical syntax itself, due to its inclusion in the universe of the timeframe, we ask which items of an aesthetic could be noted based on this image. Our objective is to compare them with elements from a 20th century aesthetic -mainly the second half -, which the composer and aesthete Hans Joaquim Koellreutter calls a relativist aesthetic of the imprecise and the paradoxical. We use his theory as reference to argue how today's audiovisual productions reverberate with questions from the music and arts of the vanguard. We justify this phenomenon through the ascension of quantity aesthetics, in the sense of cultural complexes formed in the (re) union of various tendencies, forged in mass societies. To this end, we explain the network that underpins the relativist aesthetic, in its affinities with Cybernetics and the Theory of Information (theories of Quantity itself and of Statistics), with Phenomenology, Quantum Physics, Buddhist Mysticism and Semiotics.
