In a century where every fields of life (politics, economy, technology) is organized by capitalism, human symbols, the artistic creation and the aesthetic sense are on life-support as the perfusion is administered by commercial logics and the financialization of art. If the driving force of the aesthetic sense is thus subjected to a relative heteronomy, it is still possible to disrupt this "aesthetic driving force, daughter of capitalism" in resisting its invasive character that leads to the appalling disfigurement of life. These interrogations must challenge, repetitively and across several angles, the functionalism that invades the "aesthetic dimension" of human destiny through the exploitation of his attention and his imagination. While re-creating the aesthetic sense, the piece of art must acquire a different status through this process that encourages the displacement of our interest from the object to the work inflicted to the object, from the object as a product to the conditions of productions that inform us on the laborer as much as on his working conditions. This renewed glimpse surpasses the fatality of the possible merchandising allowed by the materiality of the object. Rather, it concentrates on the object as a site of dialogue on what it does or does not promise, what it communicates or what it prevents from communicating. While the piece of art is abducted by mass culture, its shortcuts, its collusions, its calculated consecration, its regulated markets, its cultural grandmesses and its disdain for everything that does resist to its accounting logics, we must restore its aura (to talk with Walter Benjamin). The esthetic sense will then become the place for an exploration of the Subject's motivations, the complications of his imagination, his utopias and the status of the piece of art that fingers out the complexity of our lives.
