5. What strategies and methods are applied to catch attention and stimulate participation in the interaction?

One point is, that with this piece you see constant realignments taking place. There is the movement in the square to embody the portraits, to become the alien representation. It is maybe frustrated by the fact that the portraits change automatically the moment total embodiment happens. But that also animates others to join to come to that point of change.

6. Are there intended limits for the interaction possibilities and contributions?

I seldom conceive an outcome but my initial desire was to use artificial shadows to generate questions about embodiment and disembodiment, about spectacular representation, about the distance between bodies in public space, and so on. It is clear that my intended outcome are my obsessions and most people participating in the piece probably are reflecting on something completely different, which is great. I mainly concentrate in establishing some initial conditions, a platform or vehicle where people can do whatever it is they're going to do through the constraints and affordances of the piece itself.
I want to design anti-monuments because A monument is something that represents power, or selects a piece of history and tries to represent it, always from the point of view of the elite.

(Rafael Lozano Hemmer)