Hypocrisy     Tape delay device, metal suitcase, headphones, 2013    Hypocrisy   is based on a homemade version of a looping tape device that artificially produces spatial reverberation. By recording and playing back the same source in quick succession the sound appears to be echoing in a much larger space than it was actually recorded. Versions of this device were famously used to magnify the voice of Elvis Presley and later on applied to create the typical sound of Jamaican dub music. During the looping overdub process the magnetic particles of the tape are constantly realigned on its surface and the cassette tape produces its own acoustic chamber. Much like a sonic counterpart of the microscopic images of the cassette surface in the adjacent room, this echo chamber proposes another means of amplified spatial practice and acoustic cartography in the battle to cut through the dense sonic topography of the city.
   A Conversation with an Unemployed     Twelve photo prints on light table, 2013    This image series successively magnifies the surface of a home duplicated cassette sermon purchased on Cairo's regular Friday market. The different microscopic scans render the topographic layers of magnetic particles of the tape into a visual cartography of the acoustic space it contains. That space not only includes the newly recorded speech but also remainders of every other recording that ever existed on the tape before that. What becomes visible are the palimpsests of multiple spaces and the layered stratification produced by the various recordings made throughout the life of the cassette. Since many or all of these recordings most likely took place in Cairo, the scans geologically excavate a signature of the city's own audio culture.   
   Gardens of Death     Audio composition on cassette player, loudspeakers with lighting feature, 29 min, 2013    Dozens of open topped party boats line both sides of the Nile, decked out with powerful loudspeaker systems that immerse the passengers on their own sonic island while producing a cacophony that resonates across the river. The recording for this composition was made by steering a small motor boat along these floating loudspeaker jurisdictions with a microphone mapping the acoustic bleed between them. The XENON branded loudspeakers in this installation represent the typical kind of speakers that are roaring on the boats and throughout the streets Cairo; they almost seem to be singularly employed to power the sounds of the city.   
  Rendez-vous at Night    Tape loop composition on five cassette players, 30 sec, 2013    The final work in the exhibition is located on the roof, where it melds with the arbitrary sounds of the neighborhood. Five cassette players produce a thirty second surround sound installation which as a single unit operates as a study of the different ways in which acoustic space is transmitted across the city. Like all works presented here, Rendez-vous at Night amplifies the auditory aspects of some of the territorial and ideological conflicts and negotiations vibrating in Cairo's daily (and nightly) life.
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