Rafael Lozano-Hemmer: This is the Mexican Pavilion for the 52nd Venice Biennale. It is the first time Mexico has participated at this event and we have the Palazzo Van Axel, which is a palace from 1473 for many interactive installations. This is an installation called Wavefunction. It actually consists of thirty six Eames designed chairs on top of a Saarinen base design which have been modified with motors and security in order to make them interactive. The entire installation is controlled by a surveillance camera that is observing all the scene and when somebody walks around the space, automatically they create waves of motion over the entire area. So as I walk over here a disturbing of the chairs happens and this wave pattern starts happening. The piece is controlled by the mathematics of fluid dynamics so it’s very similar to if you had water in a pond. In fact, as other people come into the space, they create their own waves and those waves interfere with mine and produce chaotic patterns. There is a back room to Wavefunction which is in fact a room where you can see the control technology used for this piece. So, as people walk around the space they are actually tracked by the computer system and they generate these targets that you see here and they generate these kinds of waves of influence over the entire area which are the ones that are controlling how the actual chairs are going up and down. So you see this kind of turbulent behaviour arising from the motion of the passers by and for me this kind of room, the control room, is important to show. It is like a kind of little Brechtian moment where you display what’s behind the installation and the special effect becomes evident. This installation is called Pulse Room and it consists of this sensor that has two handles which are not unlike what you may find in an exercise machine. So you hold on to these, you grip them, you don’t have to grip them too tightly and then there is a computer that is actually measuring your heartbeat and converting that heartbeat into light flashes. So as I hold this what happens is you get the computer to measure your systolic and diastolic activity. It’s basically like electricity that is going through your hands and after about 10 seconds it starts detecting your pulse. So this pulse that we see here is in fact my heart as I am recording it right now. If I release my hands from the handle all of the light bulbs in the actual matrix will turn off and they will move ahead by one position, so I release my hands and then as you may see here, all of them turn off and then my heart goes to this very first position. The next person that tries the installation will record their hearts and will push my one along the line in such a way that it is always recycling and when you walk into this room you see the one hundred heart beats of the most recent participants. This installation is called the Under Scan. In Under Scan you get up to 1,000 different portraits that in fact react to your presence. As you walk close to them and you uncover them with your shadow, they wake up and they make eye contact with you. This is a project originally developed in the East Midlands in England with 1,000 volunteers who were recorded at rock concerts. They were recorded at universities and community centres and basically I instructed them to do whatever they wanted into this portrait, except at one point they should be able to look at the camera. So for example, we have here somebody and as I go on top of him he will wake up and make eye contact with the person. There are people who take off their clothes, there are people who make sign language, some dance, some invite you to do stuff and then when you move away from them they actually go back to sleep and then they disappear once you know and once you have looked at them. So, similar to the other projects in the back room of Under Scan we have this plasma screen which is showing you the tracking system, the actual detection of people as they walk around the exhibition space. So, this is the way that the computer can actually know where to present portraits and whether a portrait is being looked at or not. The tracking system is a pretty fundamental part of my work. I believe very much in surveillance art because I believe that we are needing a new kind of proposal about how to use these cameras and these technologies in a more poetic or critical way.