  Baudrillard calls this situation “transaesthetics” which he relates to similar phenomena of “transpolitics,” “transsexuality,” and “transeconomics,” in which everything becomes political, sexual, and economic, so that these domains, like art, lose their specificity, their boundaries, and their distinctness. The result is a confused condition where there are no more criteria of value, of judgement, or of taste, and the function of the normative thus collapses in a morass of indifference and inertia. And so, although Baudrillard sees art proliferating everywhere, and writes in The Transparency of Evil that “talk about Art is increasing even more rapidly” (p. 14), the power of art — of art as adventure, art as negation of reality, art as redeeming illusion, art as another dimension and so on — has disappeared. Art is everywhere but there “are no more fundamental rules” to differentiate art from other objects and “no more criteria of judgement or of pleasure” (p. 14). For Baudrillard, contemporary individuals are indifferent toward taste and manifest only distaste: “tastes are determinate no longer” (p. 72).