If there is to be such a thing as aesthetic capitalism, it may derive from processes that de facto relegates modern aesthetics as well as the critics of commodification, or present day representation, to the margins of knowledge based economies in a global domain, as variously indicated in approaches to the ”experience society,” ”a new spirit of capitalism,” ” the creative class,” ”global culture industry,” or ”the age of the global knowledge economy.” Seen from visual culture research, the visual today emerges as a core offering in a new and vastly multifarious spectrum of cultural aesthesis, from contemporary art in ever increasing global circuits touching all parts of the world, to pornography