A homogenizing time-space compression has launched virtual and physical spatialities of unprecedented scales, aesthetics and associations at the present cosmogonic technological molding of new universes.1 The outcome is so farreaching that it probes new possible worlds: visually, following a long Western tradition of optical instruments that have generated powerful images, a huge umbrella of multiple possibilities is opened.2 The already extremely complicated nature of image-making,3 perceiving, seeing and reconstructing mental objects and spatialities has gotten exponentially more so. The present non-Euclidean, non-linear, post-cubist reality has launched an immense reshuffling of, and new possible spatialities4 such as spatial flows, corridors and multidimensional matrixes. The new visual-spatial paradigms, thinking patterns and hybridities are explored in the arts and sciences.5 Human-machine biogenetic experiments have first been prophetically depicted in films.6 As recent mathematical discoveries have indicated, parallel universes may indeed exist and time shifts may happen between different branches of reality;7 such leaps will soon be possible. All this cyber-cosmogony, apart from superseding the distinction between modernity and postmodernity8 – postmodernism has practically expired as an aesthetic proposition9 – after initially contributing to its emergence, now results in social change that may take one direction or another. Even further, in a deep ontological rethinking of what it means to be human at this point.