It is necessary to begin from the “orthodox” subject-object dichotomy as a point of departure for our analysis (despite Heidegger and many other postmodernist authors’ objection to it for considering it a metaphysical idea).1 Rather than metaphysical, the subject-object distinction is operative as a necessary theoretical tool for focusing with more precision problems here discussed. The whole debate upon the aesthetic object-subject partly proves how problematic this distinction still is, as well as how unavoidable it remains for the field of aesthetics.