Abstract

The paper aims to analyze the relationship between philosophy, art and technique. The starting point is the classical philosophy of technique of the first half of XX Century (Martin Heidegger and Ernst Jünger); the focus is then Benjamin’s thought of art and technical reproducibility of artwork, which uncloses the dimension of aesthetic seriality. The photography and the new forms of representation in our mediatic era reveal the dissolution of artistic aura and produce an increasing virtualization of reality. At the end I will critically discuss Roberto Marchesini’s recent proposal of a posthumanistic aesthetics, which is based on the hybridization of man through projective desire and conjugation with the otherness, particularly in the form of a specific posthumanistic sublime