Concretely, the piece reminds a bit the light-city-concept installation A Digital Experience of Visual System, but put into shape in a more impressive, bigger and almost-spiritual configuration. Occupying 600 square meters, The Surface of Spectral Scattering “translates the city of Cairo into a high energy discharge system with boundaries dictated by a poetic physics of transmission, where human actors play the role of inert conduits charged by abstract, external forces of zeal and fury”.
Indeed, the 10,000 hand-embroidered LED light connected in a spreading network pumped by 15 different power centers underline a very dynamic and imperceptibly-changing atmosphere, in which deep sound waves and sparse high frequencies enhance an impression of permanent tension. But the intensive expression of its “light-city physically mapped” refers nonetheless to a more human dimension that would embody deep memories of shouting (protesting?) people whose voices would be rapidly heard through the city before to vanish. A “surface of last screaming”, to use the expression of the artist, that gives here to lights and sounds’ ebb and flow a symbolic and emotional connection in terms of audiovisual language.