One can easily see in these works an artistic expression of the debate around the post-human. Here with a critical inclination as it portraits an intruder machine on the human body. The deformation of the normal body being the result of a desired interaction, seen the serenity of the creatures, even though it produces a significant and brutal alteration of paradigm. We create more swiftly a Golem than an improved human (Norbert Wiener). It is also possible to see a political content, in the characters who show the V from victory. Ultimately this victory, which is symbolic and ideological, is not convincing given the deformations showed. The form appears stronger and more critical then the symbol. The works can also integrate the never-ending story of form in art and architecture. These simple and banal 3D characters demonstrate, for example, how difficult it is to overcome anthropomorphism. In fact, with some aesthetic education we accept positively deconstruction, but it is more difficult to demolish and question the centrality of the human normal body. Reasoning that we could extend to the body of art, body of architecture and body of urbanism. So, actually, these works emerged from questioning paradigms of perception and human knowledge, intelligibility and cognitive mapping. Questions that we are hearing very loudly in science: How do we recognise an extraterrestrial life form that does not fit our perception capabilities? How do we recognise an artificial life form that is not based on Darwinism, mnemonics or mimicry? Or, finally and more decisive, how do we recognise a superior intelligence with our limited intelligence?