characteristics that are in cinema, television, cartoons, advertising, and entertainment music, any art that is aimed at the general public, at a universal audience”. (Lipovetsky, 2013, in a conference).

Art loses characteristics of Independence and transgression, only to become another mass media consumer product offered to individuals who determine its use. Lipovetsky calls this period, “Transaesthetic Age,” where art can be found in many places, and it is now aimed at fulfilling the expectations imposed by entertainment and trends, among others.

“Artistic capitalism has managed to create a growing aesthetic environment, it is true, at the same time it no longer spreads aesthetic norms of existence (pleasure, emotion, dreams, escapism, entertainment). But the existing aesthetic model geared towards consumption that it promotes is far from being synonymous with a beautiful life to such an extent that it is inseparable from addiction and impatience, from submission to commercial models, from a relationship with time and the world dominated by the imperatives of speed, performance and accumulation” (Lipovetsky and Serroy, 2015: 28).

The war in Columbia surpassed the informative plane and the traditional view of manipulating situations, to make them seem less serious, creating a well of feasible narrative possibilities to be successfully used in different media formats. Elements of seduction were used in these media formats coinciding with the basis of “Artistic Capitalism” and the importance of the image.

Key events in the Colombian conflict have taken place in front of the cameras in real time, a characteristic that has not necessarily been as prolific and detailed as in other wars. However, according to Lipovetsky, it is an element that governs the present moment because it is an essential ingredient in the show’s production and attractiveness.

Events such as members of the army being taken prisoner and held captive in the jungle for years, a guerrilla who places a “collar bomb” on a housewife,the inhabitants in a village being caught in the crossfire between guerrillas and paramilitaries and taking refuge in a church where a “cylinder bomb” falls and explodes killing 117 people (Semana, 2002), are easily marketable events for the media, as they are aware that they capture audiences’ attention through the equation of emotion, exoticism, and spectacularity.

The Colombian conflict is a readily marketable product, consumption and profit are gained through diverse formats, coinciding with Lipovetsky’s proposal in the “Society of the void” (1985), in which the tragedy of some is turned into entertainment for the masses and amusement for global audiences. In these cases, the media promotes this model through a positive symbolic construction that helps the individual to accept it: “Artistic capitalism not only makes the economy aesthetic but also the tastes and practices of individuals, it helped to promote an aesthetic ideal founded on pleasure” (Lipovetsky, 2013: in conference).

This conceptual formulation creates an aesthetic identity with which these products are recognised, followed and cultivated by their consumers, in turn, giving rise to genres such as Narcoliterature and Narcotelevision, which win consumers over and position the “new beauties” as aesthetic proposals different to established canons.