This installation examines the ways in which hip-hop has extracted fragments of archival sound and, through repetition and reconfiguration, generated new forms of temporality. Sampling is approached here not as a simple technique of quotation, but as a cultural practice that rewrites historical audio within a different context. The work renders this process visible by translating it into a spatial and visual structure. The piece isolates four fundamental components of hip-hop—MC, bass, drums, and scratch—and presents them as distinct forms of embodied performance. Each figure appears at life scale within the space: the MC sustaining an unbroken, spoken-word flow; the bassist and drummer engaging in repetitive, rhythmic gestures; and the DJ producing subtle noise through the physical act of scratching. While each element maintains its own rhythmic logic, they converge through the mechanism of the loop to form a single, continuous track. The choice of playback media becomes a critical axis of the work. The sound is presented as an analogue loop via a 16mm film projector, while the MC’s performance, recorded digitally, is projected through a video beam. The coexistence of these divergent systems—analogue versus digital, mechanical motion versus data-driven imagery—foregrounds the extent to which music is continually reshaped by the mediums that deliver it.

A further iteration, realised in 2016, employed an iPhone as the playback device, incorporating the increasing domestication of music technology into the work itself. As listening habits migrate across changing technologies, so too do the spatial, bodily, and cultural relations that govern how sound is perceived. This installation traces those shifts across historical and technical layers, mapping the evolving conditions under which music is heard, circulated, and understood.