Multimedia artist Jose Carlos Casado, with the assistance of writer Harkaitz Cano, discusses his work in progress, La Caja de Pandora (“Pandora's Box”), in which digital video, 3D animations, and interactivity merge in a series of installations about “reality” artificial reproduction, and sexuality. His study searches for the boundaries where belief starts and asks what makes us accept what we see. It also investigates the new relationship between the mind and the body, and its relation to technologies.

The longstanding artistic tradition of creating lifelike artworks evolves as technology grows from paint and chisels to computers and DNA manipulation. Artists are now able to create digital works that engage in the processes of life and biological works that exist as art and actual life.

This paper addresses visual art's relationship to genetics and its attendant metaphorical representation. By diagramming models of the ways in which DNA is visualized and comprehended as a system of signs, parallel conceptions between art history's engagement with abstraction, recontextualization, and duplication is compared to genetic process and laboratory experimentation.

In current discourses of technoscience, body, nature, and even life are often described as code, text, or information. On the one hand, classical dichotomies (body/mind, subject/object, man/machine) and their restrictions are dissolving; on the other hand, this discourse often reveals a hidden desire to ignore both the fragility and the sense-giving capacity of materiality. In this paper, the proper dynamic of materiality is explored by looking in particular at what it means to be in a permanent touch with the world with the body.

Lumia are an art form that permits visual artists to play images in the way that musicians play with sounds. Though the idea of creating lumia has a long historical tradition, modern graphicallybased computers make it possible to design instruments for creating lumia that are more flexible and easier to play than at any previous time in the history of art. In designing and playing lumia, three principal dimensions require attention: color, form, and motion.