This chapter describes how the repertoire of images derived from morphogenetic shaping processes is widely studied in every scientific and humanistic field. These are from the pioneering experiences of cinematic, programmed and generative arts of the 1960s and 1970s, the utopian digital space spells in the ‘90s, the morphogenetic architectural projects in the early 2000s, to the latest experiences. It is possible to look at these currents with a critical look detached from the time distance that has developed. Many denominations indicate processes and experiences in different fields but result from a common intellectual matrix. This is used to generate shapes, figures, spaces or images from automated information processes that do not delineate as deterministic figuration from the artist. Although, as interaction between the artist and computational thinking has declined in the most disparate ways. This chapter, through an apparently discontinuous pathway, reconstructs a theoretical structure on which the contemporary production of morphogenetic artifacts is based.