sound work permeates and travels around the gallery in such a way that suggests the viewer likewise become a flâneur within the space. His piece—suggestive of many auditory diasporas—insists that there is not one ideal vantage point for listening, that one position should not be privileged over any other, and that instead one might listen to the room playing itself. We hear sounds from his metro ride to the airport in Athens, recorded by a sound coil that picks up a limited range of electric frequencies. A capturing of the world, yes, but in a decidedly constrained manner: miniaturization via electromagnetic isolation. Other channels of sound intervene at various intervals, creating a narrative that juxtaposes the Greek field recordings with sounds from the artist’s domestic life: sonic samples of his activities at home, snippets of Skype conversations with a curator. Sampling miniaturizes the artist’s own world to the point where it can be shared without risk of overexposure, as the personal becomes abstracted in an auditory mise-en-abyme.