The aestheticization of the world of Lipovetsky and Serroy is not a work of ordinary sociology. As in Paradoxical Happiness and in The Global Screen, we again find ourselves not with a partial essay that addresses specific aspects of contemporary society, but with a general work, of great encouragement, with a strong theoretical content, which comes to summarize the proposals of previous works, not forgetting the central thesis of the Parisian sociologist: the economy is no longer governed by the opportunism of supply and demand, but by a logic based on the dynamics of fashion: production of increasingly differentiated and renewed goods and seeking a parcelization of consumption that increases the benefits and satisfactions. In a way it is the end sought by Piero Sraffa, the great scholar of David Ricardo: the production of goods by means of commodities. Production no longer imposes, rehearses; the distribution does not sell, it seduces; and consumption overcomes the necessity stage to conquer the kingdom of freedom. The authors review a multitude of processes and aspects: the evolution of trade-show, the design revolution, the fusion of art and economy, the look, packaging, cultural tourism, kitsch, the dictatorship of beauty, reality shows , tattoos, the rich and famous, cinema, portable music, junk food, Internet, social networks. Needless to say, Lipovetsky and Serroy describe an ideal state of things that would theoretically reflect the perfect functioning of liberal democracy. They know that capitalism produces injustice, growing economic differences, and tons of garbage and ugliness, but they do not describe the worst aspect of capitalism, but the best face it could have. Not all democracies are the same. Without losing sight of these premises, the aestheticization of the world is a true treatise on the ethics of production and consumption that becomes aesthetic ethics precisely because the two processes tend towards the same end: the reproduction of the world to the measure of our desires: is the paradoxical happiness of the best of the worlds that can offer global capitalism that invades us. "A brilliant essay detailing the history of the democratization of aesthetic values ​​up to our" hypermodern "era" (Alain-Gérard Slama, Le Figaro). "Its greatest merit is to make us understand that economic calculations and general aesthetics, far from contradicting each other, make good crunches. And they also have the intelligence of not demonizing hyperconsumption in the name of utility, of seriousness, of an austere and inflexible utopia "(Le Monde).