The twenty-first century has marked a profound shift in the aesthetic concept, one that has already been present in nuce since the 1980s. Evidence of this can be found in Jeffrey Deitch’s exhibition “Post human.” The traditional somatic exposure to the external world which, in harmony or in dystonia with otherness, still maintains a sort of internal purity—we could say a clear epidermal and ontological disjunction as a legacy of the humanistic approach—was replaced by a hybridized body that becomes the theatre of possessions and decentralized projections. In humanistic poetics, the beautiful arises from the images of the neotenic body à la Botticelli, which opens up like a pearl to the hermetism of nature, and the sublime is the Romantic image of an overwhelming nature, the vertigo of Leopardi’s infinite and Descartes’ decentralization. In post-humanistic poetics, the beautiful and the sublime seem to converge in a hybrid idea of morphopoiesis, based on the epiphany of technomorphic and theriomorphic otherness. Aesthetics thus pays homage to metamorphosis, no longer stigmatized as a monstrous deformity or as the metaphor of a drift, but appreciated as the very source of the conjunction and correlation between form and ontopoiesis (Marchesini 2017). The phenomenon is no longer external to the body but becomes the somatization of the virtual: the sublime is the antecedent, the bewilderment that heteromorphy produces to bring out the intrinsic beauty of conjugation and the overcoming of any solipsistic closure.