Claudio Filho (Ph.D.) is an artist-researcher working at the intersection of art, ecology, and technology, with a particular focus on biological arts, nonhuman agency, and artificial intelligence. His work combines theoretical research with practice-based experimentation, investigating how technological systems and living organisms co-compose artistic processes and forms of knowledge. He is currently a postdoctoral researcher at the University of Campinas (UNICAMP), where he also teaches undergraduate courses on art, media, and technology.

He authored publications including Decentralizing Hegemonic Knowledge in Art Practices (2025); Emerging uncertainties: art, ecology and climate change in the Anthropocene (2023); Helen and Newton Harrison on the frontier between art, science and nature (2024); Constructing Ruins: relationships between image, data, and ecology through environmental crises (2023); Vegetable writing: use of entheogenic plants in the expansion of perception (2022).

Claudio holds a Ph.D. in Visual Arts from the University of Campinas (Brazil), where he developed the theoretical framework of the “ecosystemic turn” in artistic research. His dissertation, The Ecosystemic Turn: Cognitive Assemblages of Living and Technological Systems in Bioartworks (2026), takes the Anthropocene as a conceptual operator guiding artistic research toward an ecosystemic turn. This turn concerns not only modes of thought but also practices and forms of interaction between living and technological systems, considering other-than-human entities as constitutive parts of the structures that govern our actions within the biosphere. It makes a distinction between two categories: first-order bioartworks, which are characterized by their basis in laboratory aesthetics and technoscientific control, and second-order bioartworks, which extend beyond sterile laboratory environments to actively engage with living and artificial systems as co-performers in cognitive assemblages. The thesis demonstrates how, in the context of the Anthropocene, bioartworks are transitioning from traditional representational or object-centered frameworks to ecosystemic practices. 

He holds a Master's degree in Art Theory from the Postgraduate Program in Art, Culture, and Languages (PPG-ACL) at the Federal University of Juiz de Fora (UFJF, Brazil), where he completed a dissertation titled Pierre Restany: Beyond the Real. A Study on New Realism and Its Connection with the 10th São Paulo Biennial (1969). He also earned a Bachelor's degree in Arts and Design from the Institute of Arts and Design (IAD/UFJF).

He has been actively publishing academic research, participating in international residencies, and producing artworks worldwide. Recent works include Visiting Researcher at Aalto University (2024-2025), the Ars Bioarctica Residency at the Kilpisjärvi Biological Station (2025); the Bioart Society Mini Residency at SOLU Space, Helsinki (2024); the MediAsia/KAMC IAFOR Scholarship (Kyoto, 2023); and finalist recognition (with the Kodos Collective) in the Digital Art category of the FUNARTE Olympics of Visual Arts (2022). His work has also been presented at Piracemas (São Paulo, 2024); Emerging Extended Realities (Macao, China); EmMeio#14 at the National Museum of the Republic (Brasília, Brazil); and the 17th Athens Digital Arts Festival (Greece). Claudio is currently part of the editorial council of Coleção eXtremidades (PUC-SP), where he also works as Editorial Producer and Editorial Board of POM - Politics of the Machines, an Distributed International Research and Art Platform dedicated to exploring the shifting relations between humans, machines, and the ecologies of mediation that bind them.