At the basis of an aesthetic experience that is shared is an individual and deeply personal realisation of this disjunction. It is the moment in which the identified subject is unable to recognise itself in familiar ways and at the same time is capable of experiencing the distance between the self and the subject it occupies outside the aesthetic moment. Dis-identification takes place as a result of entering relations which are able to create this moment of disconnection which, Rancière claims, requires ‘solitude of the artwork’ (2011, 55) for its materialisation in order to then go and look out for what is common. It is the sensation of ‘being together apart’ (2011, 51) which transforms the way in which the world is experienced anew according to Rancière. Emancipation of the spectator is not linked here to the issue of replacing spectatorship with participatory action or some such activity, but is a result of aesthetic experience. This can be viewed as a form of exercising politics through aesthetics where the focus on the act of viewing as in opposition to doing is undermined. It is also useful to follow these autonomous elements which together define aesthetic experience.