Recorders: Rafael Lozano-Hemmer

Pulse Index, 2010

Placing your finger on the censor automatically documents and creates an image of your fingerprint. Then, using the memory of previous visitor’s fingerprints the piece displays them as a catalogue on a large screen; A relevant introduction to Rafael’s exhibition, in which his work requires audience participation to generate results. Although we regard fingerprint documentation as a process often associated with sinister intentions, as it represents a digital copy of a person’s identity, I found this a more innocent/playful approach to the use of technology and did not think about any consequences.

Microphones, 2008

Microphones; another impressive piece of work programmed to respond to sound input, by recording your voice and playing back previous participants. Although taking myself slightly out of my comfort zone by having to increase my volume in a space full of strangers, I found this piece of work incredible to participate in; and indeed a humorous catalogue of recordings.

Pulse Room, 2006

Walking into the pulse room immediately sparks your attention with dazzling lights pulsing above your head. Although not initially obvious what is being recorded, the flickering of the lights electrifies the atmosphere in the room. This fascinating visual piece represents the recordings of past visitors pulses. In a similar fashion to his previous works, Pulse Room invites and requires the audience to become a part of his art on display.

Of all the pieces on display at the exhibition, Pulse Room is distinctively my favourite; bringing to light an inherent curiosity in the people around me. Even though they are complete strangers I find myself drawn into the event of a new added pulse.

“The pieces either depend on participation to exist or predatorily gather information on the public through surveillance and biometric technologies.”

I find the above quote wholly represents Rafael’s work since it does indeed require audience participation to exist, I find it hard to imagine the inactive work; being the first person to interact with the exhibition. Without realising it, after leaving the exhibition I have left a vast amount of information about my personal identity, which is a surreal prospect in the current social climate of information security. Knowing that the exhibition has recorded information such as finger prints, voice and other details; seems a potentially sinister prospect on what was actually a rather enjoyable exhibition.