The thesis of an autonomy of contemporary art in virtual reality times – in which the ontological issue of the artistic object is seen as an exponentiation of the lost aura of Benjamin – can be understood in two opposite ways: understanding autonomy as a theoretical chimera or as a question that requires a continuous critical reflection. The proposal converges to the second trend. Thus, it insists on the issue of autonomy and this implies a critical analysis of the role of this in art history – in the way some oeuvre and authors, from the Lessing s Laocoön through Greenberg to the Adorno s aesthetic theory, had been establishing in theory of art the idea of an autonomy of specificity. Historically, the autonomy of specificity was closed by its own rules: language, style and materials. In this modernist historical context two fields stand out for being very ruled in their abstractions: music and architecture. And within those respective fields, the works of the composer Karlheinz Stockhausen and the architect Peter Eisenman appear as works, between contemporary productions, that simultaneously subvert and resist the specificities of their internal rules. Following in the footsteps of these artists, the present work investigates the possibility of another kind of autonomy that deals with an autonomous presence condition - an autonomous continuum that questions the historical temporality either from resultant sound and resultant space, and never anchors itself in predetermined specificities. Accordingly, Stockhausen and Eisenman realize an autonomy whose temporality is an intrinsic continuum that always operates the movement of critical impetus of the binomial phenomenon and concept – either by the critical approaches of their mediums and their languages.