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In 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 Chemical art, experiments on Sephadex (a gel capable of dividing substances according to their specific weights), Unstable sculptures, and other research. 

The “Talking paintings”, accomplished in the first half of the 1970s, make use of 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, broadcast some tape-recordings of voices, recounting for the most part autobiographical stories. The canvases have a chip through which they play the tape as the visitor approaches. The choice of including a human voice into a painting represents an attempt to go beyond the traditional dimension of the painting, opening a 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 interacting but with the advantage of greater creative possibilities”, as Remo Bianco wrote in the presentation of these works in an exhibition in 1976.