This article introduces a conceptual design for an interactive artwork called Feel-in-Touch! Its aim is to improve the use of imagination in artworks using abstract images in the formats of interactive media and vibro-tactile aids. New technologies can visually realize every surrealistic narration we can imagine, but these technologies limit our perceptions by presenting only one way of imagining, instead of multiple alternatives. This restricts creative thinking.

The anthropological effects of cyberspace grant to the interfaced body a new capacity for attempting higher and more complex levels of interaction. The author's on-line project Ouroboros provides first and second interactivity. The web site explores the seamless condition of being a reptile in interaction with various environments as it evokes the symbolism of the great world serpent Ouroboros. The author proposes that interactive technologies return us to forms of communication similar to the rituals of primitive societies.

The author explores the transformation and derivations in the field of artistic experimentation on the Net. The article examines the accomplishments artists have made with the “new poetics” of the dynamic universe of telematic art, expressed in contemporary artistic production. The text introduces five distinctive projects in multi-user virtual environments that were recently produced in Brazil and then places the projects within the more general context of art on the Net.

The author examines the history of artists' depictions of fanciful organisms that are formed by combining parts of various species. Broadly tracing the progression of this pursuit from prehistory through the Ancient, Renaissance and Romantic Periods and up to the 20th century and contemporary genetic art, the article analyzes the seemingly consistent effort to render these forms simultaneously nonthreatening or vulnerable in attitude and visually realistic.