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Rafael lausano-hammer rca (was born in 1967 in mexico city)-mexican canadian electronic artist who worked with offers from architecture, technological theater and concerts. Lausano-hemmer lives and is represented in montreal and madrid. [2] he emigrated to canada in 1985 to take a course in the higher education institution of victoria in british colombia, and after he received a bachelor's degree of sciences in terms of physical chemistry at the concordia university in montreal. [3] the son of the owners of the night clubs of mexico clubs, the lozdo-hammer was involved in science, could not refrain from joining his friends's creative activity. [4] initially, he worked in the molecular recognition laboratory in montreal [4] and published his study regarding chemistry. [5] despite the fact that its application did not engage in science as a direct career, it acted on its work sometimes, [3], ensuring conceptual inspiration and practical approaches to create its activities. The work of lausano-hemmer is able to be considered a mixture of interactive skill and fine art, using as high, completely small scale, internal and external settings and a rich list of audiovisual technologies. [2]

Lozano. -Gemmer is most famous for the creation and representation of theatrical interactive installations in those institutions throughout europe, the east and hollywood studios. Using robotics, current computer graphics, film forecasts, positional sounds, internet lits, iphone interfaces, rollers and ultrasound sensors, led screens and other devices, its installations strive to interrupt an even more homogenized urban state, providing critical resources to accept to accept participation. [6] the sculptural or rollers-installations of the lausano-hemmer will study the topics of perception, porn video deception and tracking. [7] in the role of these various large-scale and based on performance projects, lozano-shemmer documents the functioning in photography releases, which are also exhibited. Raisance), where the internet participants directed spotlights through the central square to mexico city. [9] the work was repeated in vitoria-gasteiz in 2002 in lyon in 2003, in dublin in 2004 and during vancouver in 2010. In 2007, he turned out to be the first artist officially representing mexico in the venetian biennale with a solo show on palazzo. Sranzo van axel. In 2006, its action 33 of the issue per minute was acquired by the museum of modern excellence in new york. The public (2005) is carried out in the collections of tate in the united kingdom. [10] in 2014/2015, its impact was presented at a solo exhibition of the shadow project in bildmuseet, umo university, sweden. > text art [edit] 

Several lozano-shemmer installations include the use of expressions and opportunities to add additional value. These texts are needed to clarify the circumstances by the deepest meaning, including the spectator’s actions, to erase or influence the environment and perception. Many of the textual installations, including from the third neck, and publicly available, place the words to the viewer himself. Due to the random nature of these texts, a man does not control this, in the fact that he is marked as, causing a sense of helplessness, and experiences normal and unpleasant connotations associated with words imposed in his own hands. Text installations, including 33 questions in a minute and not activated the slightest business, like no business, depends on the desirable participation of the viewer. These two forms of text attitudes are externally reflecting, at that hour as the first two are internally reflecting. 

33 troubles per minute - this is an installation consisting of many screens programmed to develop possible topics and display them at a speed of 33 per minute. A computer that creates questions is able to generate 55 billion unique issues will take more than three thousand years in order to show each of them. A bonus to the implementation of an automatic display of issues, representatives of the public are able to imagine their personal problems in the pipeline. Their participation is immediately reflected on the monitors and is registered by the program. [12] [necessary invisible source] 

The third resident-second part of the series of interactive displays of shadowbox built-in digital tracking network. This part shows the shadow of the viewer, composed of hundreds of tiny words, which are actually all the verbs of the dictionary, associated with the mediated persons. The portrait of the viewer is applied in real time with active words that automatically appear for filling in it, or its silhouette. Business is a flashing neon sign whose speed is directly proportional to how many times when the word "economy" appeared in the world wide network in the last day.[14] [the necessary unacceptable source] 

The public subtitles are composed of an empty exhibition space, where people are found through a computerized chain of video cameras. At what point is humanity included in space, the system generates subtitles for any member of society and projects it on it or it: the subtitle is chosen by chance from all the verbs associated with the mediated persons. The only option to dissolve from a subtitra is to take a lively participation in another person, and this provokes the exchange of two subtitles. Have a wonderful experience. [15] the suitable source necessary 

Relating architecture [edit] 

In 1994, the lausano-hammer came up with the term "relating architecture" as technological actualization of buildings and also city walks with someone else's memory. He wanted to transform the dominant stories about a particular building or urban environment, imposing audio -visual elements in order to influence it, affect hacking and re -seizing it again. [16] from 1997 to 2006, he built ten works of relational architecture, counting from displaced sovereigns, and finishing under the scan. [16] the lausanum hammer says: “my goal, so that the buildings are pretended to be something else, in addition to acting in a certain dissimation” [17] 

The solar equation was a large-scale public artistic attitude which includes the correct modeling of the sun, scaled in a hundred percent millions of times less than a real thing. Ordered in the “lighting, at the winter festival” in melbourne, australia, this article showed the largest spherical balloon in the world, made on the application for the project, which was timed to the federation of the federation and animated with the help of five projectors. Solar animation on the airship is based on live mathematical equations that simulated turbulence, flashes and sun spots that you can look at the plane of the sun. This provided a constantly changing display, which was not repeated in life, giving the audience the opinion of majestic things that are observed in the southern land and which only relatively recent achievements in astronomy found. [18] [the necessary indispensable source is necessary] Under scanning - an interactive installation of video meters for public space. In the indicated work, passers-by are detected by a computerized tracking system that activates video batteries projected from their shadow. More than 1000 video portraits of volunteers were taken to derby, leicester, lincoln, northgempton and nottingham (in the uk) by a team of local filmmakers. For the london presentation on trafalgar square, tate modern shot more than 250 additional records. After all, the population could be freely portrayed by any desired, the necessary spectrum of performances was captured. In installation, portraits were released in random places. They “awaken” and put a visual partnership with the observer after him, or her shadow ”reveals them. When the viewer leaves, the portrait reacts, lifting the gaze and also eventually disappears if almost no one activates it. It measures from 400 to 1800 area (4300 and 19,400 sq. Foot). Thousands of photographic portraits previously taken in the real life of the host city are shown using robotic projectors. Nevertheless, portraits arise exclusively inside the predicted shadows of passers -by, whose silhouettes can measure from two to twenty -five meters (from 6.6 to 82.0 feet), based on the extent to which they are close or at a distance from the old light sources placed placed. Within. The remote tracking system launches new portraits when any information existing was disclosed, inviting the public to take new stories about the presentation. The lausanum gemmer comments: “my initial desire was to use artificial shadows to sculpt questions about the option of implementing and ejecting, about an impressive representation, about the distance between pussy in public space and others.” [17] [20] the source is necessary] 

Re: the positioning of fear was the third project of relational architecture. It was a large -scale installation on landeszeughaus [where?] Military arsenal, and the projection was formed only in the non -fire sector of passers -by. Using tracking systems, the shadows were automatically focused and generated sounds. The discussion in a non -virtual temporary stream about the transformation of the concept of “fear” was projected inside the shadow; 30 artists and theorists from 17 countries signed on the website. [21] [an unacceptable source is needed] 

Sculpture [edit] 

Tape recorders-this is the installation containing the ranks of motorized measuring tapes recording the volume of the clock that visitors abide in installation.Since the digital tracking network detects the presence of a person, the nearest measuring tape begins to protrude up. When the tape reaches an approximately three m (9.8 feet) in dimensions, it collapses and gives back. [22] [the necessary unconcassable source] 

Please empty your pockets is the installation, which includes a conveyor tape with a computerized application that records and preserves the images of everything that goes under the mirror. The user is able to place any small option on the conveyor tape, for example, keys, passports, wallets, anxiety beads, condoms, notebooks, mobile phones, coins, dolls, rights, business cards, credit cards, etc. After they pass under the scanner , objects are lit on the other side of the conveyor tape next to the predicted objects from the stored images of the installation. In the role of a real element, it is removed from the conveyor tape, it has a predicted image of its own needs, which is then necessary to accompany future objects. [23] [the necessary invisible source] 

Microphones is an interactive installation with someone or several microphones of the 1939 shure, located on the mike stand ahipwition room at many heights. Each microphone was modified so that inside its head was a tiny loudspeaker and a board connected to the internet of hidden control computers. When a public participant speaks in a microphone, he writes him out, or her voice, and then - immediately admires the voice of the previous participant, like an echo from the past. > Standards and double standards is an interactive installation that includes 10-100 attached belts, which are suspended at the waist level from step engines on the ceiling of the exhibition room. Controlled by a computerized tracking system, the belts rotate automatically to follow the public, slowly turning the buckles to chat with passers -by. If five people are in the apartment, their presence affects any group of belts, creating chaotic patterns of interference. Non -linear behavior is such a situation as turbulence, vortex and rather quiet regions. The main tasks of this part is the visualization of complex dynamics, turning the condition of pure observation into an unpredictable connecting system. Away creates a “missing crowd” using the fetish of his father’s power: a belt. Rays that form a special network between several analog intercom. When the viewer speaks in some of the intercom, he will be able to look at how the voice flow is transformed into outbreaks of light, they are significantly transmitted along one of several possible routes through the world wide web. When the flash of light reaches the other end, the conversational phrase is made and converted again, from lighting, into sound. The installation interacts, turning sound stimuli into the sea, which is then again transformed into sound. [26] this was shown in the disseny hub barcelona in a time period from 2011 to 2012 in the exposition of circulation/i. Feelings of machines (laboratory of interaction) [27] 

Golosa massive is an installation of participation, including up to 288 anonymous vocal samples that indulge in uneven unison, and accompanied by pulses of bright white lighting, in the discord of the beams, outgoing from above and here the raised black strip along the rear wall. When activated, the piece denotes pulsating volume on the old stereo, turning the sound into the sea to measure the intensity. Each user will be able to speak in a silver silver intercom-hut to the left of the removal of striptease-on-on, the recording immediately a flash stored in the form of a loop in one light of an array. [28] 

Fucking is an installation that includes two neon signs, which are about “confusing”, those that are covered. Two signs have a size of 72 inch for 14.75 inches. Two signs have both a light switch in which both are included and off. When any of the light switches is turned on, both signs are illuminated. When any of the light switches is turned off, both signs are turned off. Two signs are placed in other rooms, individual buildings or in exclusive countries. The idea arose in connection with the fact that it provides confusion in quantum physics, where two particles act as one. Hangs above the ground, which is attached to the ceiling with a piece of string. Behind the branch there is a projection of a whole branch, showing how the branch in the “y” manner once looked. As the branch like “y” moves with the mobility of the air masses or people moving it, the projection also moves with synchronization with a hanging branch. This is the next play by rafael lausano-hemmer in the “shadow objects”. This part was inspired by octavio pas and biological kazares, who stated that the deficiency and presence are not considered opposites. ” Installing hundreds of mobile speakers that play national hymns when the viewer is approaching.These speakers are located all over the walls of the gallery based on national statistics. For example, an agreement is exclusively dependent on citizens, the year of pivot, etc. [31] [the necessary unacceptable source] 

Speaks willow, is an interactive tree that determines the movement, which will whisper to customers on hundreds of several information platforms in washington, the district of colombia, and the planet's museum. The field expected installation date 2020. [32] 

The rest of the work [edit] 

In 2013, lausano-hammer created a work with the name friendfracker. It was an internet center that lausano-hammer created in conjunction with harper rid in 1 day. The participant will introduce information about his own personal registration in the fb on the internet program, then the service checks the service to ten friends of the participant from their registration facebook. The service does not have what friends were deleted. Facebook disconnected the program on april 25, 2013 w each, suspended on cables 3 meters from the floor. Nowadays, he worked in all places, like venice, italy; and aarhus, denmark. Based on synthetic respirators used in medical institutions, some works are composed of a paper package, which is independently filled and descended depending on the level of human breathing. The device that controls its mechanism is installed on the wall and 10 thousand are activated - the normal respiratory rhythm for a middle -aged person - produces 158 sighs. The artist considers the “visible” preservation and circulation of breathing, a biometric portrait of a person, a sign of a biography, which remains further beyond the death of such a foreigner. In such a publication, rafael lausano-hammer immigrants the breath of the poet quebec and writer nicole brosard, the famous activist in feminist and lgbtk. So, her breathing in art and protest will be preserved in the tank of such an opportunity, a living memorial to the artist. -Hmmer is ranging from other artists in porn to comprehensive use of technologies; most of his productions contain a more single element of technology in order to create a prolonged effect. Lozano-hemmer aware that western culture is a technological culture, emphasizing “even in the case when you do not use a computer, this environment affects your shoulders. Partnership with technology is inevitable. ” [37] “our policy, culture of our time, economics. Everything is carried out through globalized communication networks ... ”[38] 

Methods that lausano-hammer used in the creations used, include robotics, user software, projection, internet lits, mobile phones, sensors , leds, video cameras, and tracking schemes. [39] 

Solo exhibitions [edit] 

Bildmuseet shadows project, umo university, sweden. November 2, 2014-april 26, 2015 [40] -rafael lozano-hammer: the island of the translation (curator: reim fadda and aliya zaal sultan luta), the department of culture and tourism of abu dhabi, abu dhabi, united arab emirates, november 20- december 31. Hemmer: obvial circular breathing (curator: kathleen ford), modern boruzan, istanbul, turkey, september 14 - february 16, 2014. Awards of the general of the governor in external and media-art, ottava, canada 2015. [44] - interactive art honorary mention, ars electronica 2013, linz, austria 2013. Illinois, usa 2012. [46] bafta british academy award for interactive art 2005, london, great britain 2005. [47] - artist/performer of the year, wired magazine rave awards, san francisco, california, us new york, new york, usa 2003. For arts, san francisco, california, usa, 2003. Bafta british academy award for interactive art 2002, london, great britain 2002 - gold award, interactive media design review 2002, i.D. Journal, usa 2002. Webby awards 2000, san francisco, california, usa 2000. 2000. Media awards 1996, toronto, ontario, canada 1996 - second prize, cyberstar, köln, germany, june 1995 additional reading [edit] 

- Maciej ożog, “examination of the observation society: the case of installations of rafael lausano-hemmer” in outi remes and pam skelton (ed.), Dominia of the conspiracy : control in the works of contemporary art. Cambridge scholars publishing, 2010. Data to the city point: https://web.Archive.Org/web/20110609232602/http://wwww.C-s-p.Org/conspirals/conspiracy-dwellings-surveillance -contemperary-art1-4438 -1905-0.Htm links [edit] 

^ "Lozano-hemmer o bitforms gallery". Rafael lausano-gemmer. Bitforms gallery. Archived from the original on august 22 last year. Received on august 23 last year. Lozano-hemmer.Com. Archived from the original 2015-02-17. Received 2015-03-02. Canadianimimgrant.Ca. 2011-05-16. Archived from the original 2016-03-04. Received 2015-03-02. ^ A b crow, kelly (2009-09-05). "Rafael lausano -chimmer of paint with the sound - wsj." Online.Wsj.Com. Archived from the original 2015-04-06. Received 2015-03-02.Organic chemistry journal, 59, washington, usa, 1994 ^ "rafael lausano -chammer - biography." Archived from the original 2018-01-31. Received 2018-01-30. ^ Ravetto-bigoli, criss (2010). “Filmed by images: rafael lausano-hammer and the greatest historical persons of observations” (pdf). Representation. 111 (1): 121-143. Doi: 10.1525/repa.2010.111.1.121. Archived from the original (pdf) on march 4, 2016. Received on august 20 last year. ^ Wolf lieser. Digital art. Langenscheidt: h.F. Ullmann. 2009. P. 252, 254-55, 261 ^ andreas broikmann in stephen graham, the cybercets reader, routledge, 2004, p. 380. Isbn 0-415-27956-9 ^ "'subtited public', rafael lausano-hammer." Tate. 2014-12-14. Received 2015-03-02. Archived from the original 2021-01-09. Received 2021-01-14. Lozano-hemmer.Com. Archived from the original 2015-04-02. Received 2015-03-02. Lozano-hemmer.Com. 2013-09-19. Archived from the original 2015-04-02. Received 2015-03-02. Lozano-hemmer.Com. Archived from the original 2015-04-02. Received 2015-03-02. ^ "Raphael lausano-hammer-project" with the name "public" ". Lozano-hemmer.Com. Archived from the original 2015-04-02. Received 2015-03-02. Architectural design (july/august 2007. ) P. 78-87 ^ a b adriansens, alex and joke bruwer. “Alien relations from public space: winding conversations, with raphael lausano-hemmer.” Transbanism. 2002. Print. ^ "Rafael lausano-chammer - the project "solar equation". Lozano-hemmer.Com. Archived from the original 2015-02-24. Received in 2015-03-02. Lozano-hemmer.Com. Archived from the original 2015-02-25. Received in 2015-03-02. Lozano-hemmer.Com. Archived from the original 2015-02-23. Received 2015-03-02. Lozano-hemmer.Com. Archived from the original 2015-04-02. Received in 2015-03-02. Lozano-hemmer.Com. 2014-05-13. Archived from the original 2015-03-11. Received 2015-03-02. Lozano-hemmer.Com. Archived from the original 2015-02-15. Received 2015-03-02. ^ "Rafael xxx fetish lausano-hammer-project" microphones ". Lozano-hemmer.Com. Archived from the original 2015-04-02. Received 2015-03-02. ^" Rafael lozano-hemmer-project "standards and double standards. " Lozano-hemmer.Com. Archived from the original 2014-10-04. Received 2015-03-02. Dhub-bcn.Cat. Archived from the original 2012-07-29. Received 2015-03-02. Dhub-bcn.Cat. Archived from the original 2012-05-09. Received 2015-03-02. ^ Rosetti, chloé (october 2012). "Rafael lausano-hammer: voice massif." Brooklyn railway. Archived from the original 2012-11-05. Received 2012-12-20. Lozano-hemmer.Com. Archived from the original 2015-09-21. Received 2015-04-22. Lozano-hemmer.Com. Archived from the original 2015-01-03. Received 2015-04-22. Archived from the original 2017-05-01. Received 2017-03-07. ^ Dingfelder, sadie (march 13, 2019). "A giant, whispering" tree "goes to the central regions of the capital." The washington post. Archive from the original on march 27 next year. Received on march 14th of the new year. Lozano-hemmer.Com. Archived from the original 2015-09-21. Received 2015-04-22. ^ "Rafael lausano-hammer: pulse." Studiointernational. December 7 of the current year. Received on january 6, 2021. ^ "Pulse room". Rafael lausano-gemmer. Received on january 6, 2021. Www.Mbam.Qc.Ca. Received 2023-12-20. Akilo. 2002-02-26. Archived from the original 2015-09-14. Received 2015-03-02. Articles.Latimes.Com. 2010-10-17. Archived from the original 2015-04-03. Received 2015-03-02. ^ "Volta: rafael lozano-master". Voltashow.Com. Archived from the original 2014-11-12. Received 2015-03-02. ^ Https://www.Dn.Se/kultur-noje/konstreceence/kultur-kapital-i- velig-llian biography. Www.Lozano-hemmer.Com. Received 2023-12-20.