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This article aims to emphasize the importance of aesthetics, not as much as the study of beauty, the philosophy of art or a theory of art but a theme that since the eighteenth century is relevant as an autonomous discipline to study sensibility as an experience, at which point it expands the concept of aesthetics for the inclusion of the politics, thus becoming the basis for new artistic practices and the construction of new forms of life, to all modernity. The course of examination will be the reading that the French philosopher Jacques Rancière makes of the history of aesthetic ideas and their respective regimes, which are articulated on the notions of aesthetics and politics. This plot is formulated through the idea of domination in the separation of the acts’ sensible, whether artistic or not, that since the Platonic Republic separated the look of a worker to the world of the artist's look. Rancière separated three aesthetic regimes of art, in the historical passage of the mimetic regime, for the third regime is the object of analysis of this article. Rancière finds in Schiller's philosophy the passage from the mimetic regime to the aesthetic, specifically in Schiller's deduction of the concept of beautiful appearance, from the suspension of the concepts of sensible and formal impulse by means of the ludic impulse, which he considered to be the original scene of a true sensible revolution in aesthetics. This revolution will influence diverse artistic practices and conceptions of culture.

AS DESORDENS SENSÍVEIS NA REVOLUÇÃO ESTÉTICA DE SCHILLER: UMA LEITURA DE RANCIÈRE