The atmospheric value that defines the notion of mediality invites us to reconsider the participative dimension of the artistic production, in particular when it’s directly oriented toward the constitution of environments which make observable the interaction between the subject and the world. The multiform work of the Mexican artist Rafael Lozano-Hemmer, whose peculiarity resides in the “territorial” nature of the performative space and in the interactive use of the technological medium, seems stronglyindicated for questioning the actual notion of mediascape. The essay analysesthe work of Lozano-Hemmer with regard to the problematic nature of the idea of medium, tothe deconstruction of interactive everyday practices, and tothe sinestesic vitality of technology.