In keeping with his Expressionist colleagues, he initially welcomed the war, believing it to be a necessary cleansing of a calcified society, although being an Austrian citizen living in Germany he was spared the draft.

[7] In 1916 Hausmann met two more people who would become important influences on his subsequent career; the psychoanalyst Otto Gross who believed psychoanalysis to be the preparation for revolution, and the anarchist writer Franz Jung.

Huelsenbeck delivered his "First Dada Speech in Germany", January 22, 1918 at the fashionable art dealer IB Neumann's gallery, Kurfürstendamm Berlin.

Over the course of the next few weeks, Hausmann, Huelsenbeck, George Grosz, John Heartfield, Jung, Höch, Walter Mehring and Baader started the Club Dada.

The first event staged was an evening of poetry performances and lectures against the backdrop of a retrospective of paintings by the establishment artist Lovis Corinth at the Berlin Sezession, April 12, 1918.

As Raoul Hausmann shouted his programmatic plans for dadaist painting into the noise of the crowd, the manager of the sezession gallery turned the lights out on him.

[14] After Hausmann contributed to the first group show, held at Isaac Neumann's Gallery, April 1919, the first edition of Der Dada appeared in June 1919.

At the beginning of 1920, Baader, the "Oberdada", Hausmann, the “Dadasoph", and the "Welt-Dada" Huelsenbeck undertook a six-week tour of Eastern Germany and Czechoslovakia, drawing large crowds and bemused reviews.

The work Tatlin At Home, 1920, can be clearly seen in one of the publicity photos taken by a professional photographer; the exhibition, whilst financially unsuccessful, gained prominent exposure in Amsterdam, Milan, Rome and Boston.

The Spirit of Our Time is a collage of some sort by Raoul Hausmann, created in 1919, that shows an abstract, mechanical representation of modern man.

Constructed from a hairdresser's wig-making dummy, the piece has various measuring devices attached including a ruler, a pocket watch mechanism, a typewriter, some camera segments and a crocodile wallet.

As well as his recitals of sound poems, he also presented a manifesto describing a machine "capable of converting audio and visual signals interchangeably, that he later called the Optophone".

As Nazi persecution of avant-garde artists increased, he emigrated to Ibiza, where his photos concentrated on ethnographic motifs of pre-modern Ibizan life.

He refuted the term Neo-Dada, currently in vogue, which had been applied to a number of artists including Yves Klein and the Nouveau Réalistes, Robert Rauschenberg and Fluxus.

'His almost complete isolation was relieved only by extensive and partly conflict-ridden correspondence with old friends from the Dada movement as well as young writers and artists such as Jasper Johns, Wolf Vostell and Daniel Spoerri.

'[22] He wrote to George Maciunas, who had included his work in the early Fluxfests, in 1962: "I think even the Americans should not use the term "neodadaism" because neo means nothing and ism is old-fashioned.

While researching light and electronics for his artworks, Hausmann collaborated with a Russian engineer Daniel Broido to design a computer that used similar technology.

[30] In addition, manuscripts and texts by Hausmann (and third parties) on art, culture and philosophy, as well as technical and scientific studies, have survived in the partial estate.

[31] The Musée Départemental d'Art Contemporain[fr] at Rochechouart Castle in France holds the second part of Raoul Hausmann's documentary estate.

In 1995, this part of the documentary estate came to the museum together with a large number of unpublished texts, including theoretical and poetic writings, typescripts and notebooks.