Around the 1960s (The Chemical Art manifesto, 1964), Bianco turned to a research on the relationship between art and science and between art and technology.
These works include the Chemical art, the experiments on Sephadex (a gel capable of dividing substances according to their specific weights), the Unstable sculptures, and other researches.
The “Talking paintings”, accomplished in the first half of the 1970s, make use of the technological potential and belong to this period of research. These works consist of white, black or canvases, or self- portraits, which through a device on the back side, broadcast some tape-recordings of voices, for the most part telling autobiographical stories. The canvases have a chip through which they play the tape as the visitor approaches. The choice of including a human voice in the painting represents an attempt to go beyond the traditional dimension of the painting, opening at the same time new possibilities of interaction with the work of art: “We usually see a painting with our eyes but we can also 'see it' with our ears, an equally brief and fast way of interaction but with the advantage of greater creative possibilities”, as Remo Bianco wrote in the presentation of these works in a exhibition in 1976.