Samuel Bianchini is an artist and associate professor at the École Nationale Supérieure des Arts Décoratifs—Paris (EnsAD) / PSL Research University Paris. Supporting the principle of an “operational aesthetic,” he works on the relationship between the most forward-looking technological “dispositifs”, modes of representation, new forms of aesthetic experiences, and sociopolitical organizations, often in collaboration with scientists and natural science and engineering research laboratories. His works are regularly shown in Europe and across the world: Nuit Blanche Toronto 2016, Medialab Prado (Madrid), Palais de Tokyo (Paris), Kunsthaus PasquArt (Biel), Art Basel, Institut Français of Tokyo, Stuk Art Center (Leuven), Fiac, Centre Georges Pompidou (Paris), Deutsches Hygiene-Museum (Dresden), National Museum of Contemporary Art (Athens), Jeu de Paume (Paris), Laboratoria (Moscow), Thessaloniki Biennale, Centre pour l’Image Contemporaine (Geneva), space_imA and Duck-Won Gallery (Seoul), Museum of Contemporary Art Ateneo de Yucatán (Mexico), ZKM (Karlsruhe), Musée d’Art Moderne de la Ville de Paris, etc. After defending his PhD thesis at the Palais de Tokyo in Paris with a solo exhibition, and, more recently, his accreditation to supervise research, Samuel Bianchini is now the head of the “Reflective Interaction” research group at EnsadLab, the laboratory of EnsAD. In close relation to his research and artistic practice, Samuel Bianchini has undertaken theoretical work, which has led to frequent publications edited, for example, by Éditions du Centre Pompidou, MIT Press, Analogues, Media-N – Journal of the New Media Caucus, Hermes, Les Presses du Réel, Springer, etc. He has recently published, co-edited with Erik Verhagen, Practicable. From Participation to Interaction in Contemporary Art, MIT Press, 2016 and, co-edited with Emanuele Quinz, Behavioral Objects 1 – A Case Study : Céleste Boursier Mougenot, Sternberg Press, 2016.