It is important for the subject of this essay that specificity thinking, the perception of representation as a synonym for Western culture as such, looks for those determinations that exist before reflection, before any mediation and develops the vocabulary of ‘touch’. This has led to readings that restore the parallelism of ontology and ethics in philosophical reflection. This restoration of parallelism means stepping back from the reinterpretation of metaphysical premises, taking up relationships, dynamism, changes in time and space, ‘now’ and ‘here’ or in other words, the event. Aesthetics, philosophy of art and art theory have always been interested in the secret of man-made objects; this has been related to and explained by the special ability of humans to produce from nothing, to provide form to the dynamically changing, to develop style and to surprise with the infinite world of the creative imagination. The practice of contemporary art whose sources of inspiration are no longer limited to the phenomena of ‘creative nature’ has not just lost its ‘self-evidence’ in the artist-viewer communication. It has forced to get used to know the ‘truth of the artwork’ revealed through conflict and shock, to disclose it ‘when’ we encounter the ‘arte-factual nature’ of art and at the same time experience the continuation of ‘God’s death’ in the collisions of the ‘author’s death’. The particular emphasis on personality in the study of art makes one think about the mythological ideas taken over by the idealist tradition, the philosophically cultivated concepts of Jewish and Christian creativity that have always helped to elevate the personality’s output as a proposal of special style and form, defying the technical means available to men and, even more, to approximate or even partly compare it with the divine creation. The event is one of those concepts that become the key words for searches and are intended to overcome the too human or, in other terms, aesthetic subjectivism. An event or Ereignis (Martin Heidegger) is understood as a sudden, unpredicted process that knocks the synchronised system out of balance. Heightened sensitivity towards the ‘shared’ time and ‘shared location or space’ (Jean-Luc Nancy) compels the thinkers working on phenomenological-genealogical studies not to solve philosophical tasks on the basis of aesthetic denial of the world (as Schopenhauer did) but to search and put forward an aesthetically charged formula of touch and interaction.