The functions that have been traditionally ascribed to visual arts, today belong to the mass communication media, when it comes to the theoretization of the spectacle as a present mode of cultural visibility. This assumption is probably due to the new understanding of paradigmatic pieces from the history of art, as well as the current marginal place of visual arts in social life. In this paper we will try to locate the conditions of such an overtaking of the 'authorizations' or else, the consequences of the transfer of functions of communication exchange and appearances from the field of artistic experience to the sphere of new electronic platforms, and embodied media ambience that is being generated by them. This is not just a plain change of the field, since every media surrounding brings its own policies. Therefore, the problems we are going to address deal with the heritage of visual arts in the present time and their current status in relation to the existing aesthetization of the reality. Thus our goal is to question new, unlimited possibilities given or imposed to the visual creativity, despite the imperatives of its specialization brought about by the contemporary dominant order of global market.
