There is a certain similarity between what is described here as displacement and the sensation of dis-identification which Rancière refers to when talking about aesthetic experience. The contextual difference is of importance. Whereas Rancière situates this perception between what is seen, thought and felt that is as a sensory experience, for Braidotti it is ontological issue that is as if to say that it has been and that it is already a space of displacement. The displacement is at the same time nature-culture continuum thus it is its source as well as its effect: posthuman as becoming machine. It is exactly this difference which is important when trying to move towards the aesthetics of common/s. The move from how we can experience this sense of disjuncture to how this displacement is part of our becoming is at the core of the aesthetics of common/s.
The aesthetics of common/s refers to a displacement of aesthetic effect or more accurately its disconnection from the aesthetic moment as defined in Rancière where it is still in the hands of an artist to instigate the conditions for dis-identification to take place. In the condition of post-participation it is assumed that we are already engaged in some form of participation whether it is conscious decision or not and as such instituting the rules of engagement is already out of artist’s hands. If there is an ambition to move towards the aesthetics of common/s there is a need to demand not more new forms of participation but moments that displace participatory situations we are already in to open up and make space for new situations that could have been otherwise, even if for a moment. It is at this moment that it is possible to consider the aesthetics of common/s.