JS: This is a difficult question because the depicting of coded, net based and communicative bodies is not an easy task. From my studies of interfaces and biotechnology, I came across the development of artificial skin. You see, our own organic skin and its hair is our biggest tactile-reactive interface with special metaphorical connotations of communication. I also personally think that media art should move away from the reliance on the audio-visual stimuli to the opening up of other sensory perception. Together with the Artificial Intelligence Lab here in Zurich I have been focusing on interaction with objects using touch and tactile feedback and biological simulation as a way to communication between objects. This means we are trying to build extensions of the body, which exaggerate the point of contact where the organic meets the artificial resulting in the blurring of the line between them. These sculptures we call «e-Skin», they are heat and stroke sensitive objects that respond to touch and control either virtual or real environments. This new idea of the cyborg attempts to collapse the gap for the viewer between touch and the other senses (vision, hearing, propioception). Also, the

symbiotic and spatial transformation of the human-machine interface is important. In other words «e-Skin» tries to explore the meeting point between the body (biological function) and the object (artificial reality) but using body functions like pressure, temperature, vibration and propioception. For an art context, the racial and ethical metaphors associated with the skin are also important areas to display.