Abstract
The aesthetic turn of the artwork is due mainly to Kant and Hegel. In this context, the concept of visual image emerges, trapping the art in aesthetic networks. Modernity, at that time, reaches full maturity and enables a shift in philosophy, Western, aestheticization that reason. Radicalized the rotation, the so-called poststructuralism, is Vilèm Flusser, who, from their nomadic and indiscipline, poses a radical critique of Hegelian thought from �technical image� as �praise of superficiality� or, in our view, �theory of the screen�.
The intermediate and beyond critical approaches in crisis, deconstructive, mainly in the case of Derrida, destabilize and stress, the aesthetics, from the margins (párergon) and the question of �truth� of the visual. The postestética both Badiou and Rancière in, he asks in one case (Badiou) as unaesthetic and in the other (Rancière), for the distribution of the sensible.
This text analyzes from the critique of aesthetics, both Kant and Hegel, visual turn on Flusser, deconstruction and the rotation of the so-called postalthusserianos (Badiou and Rancière), and the implication of the image technique, from the superficial and deep, to delineate the outlines of a theory of the screen.