Artist and musician Joe Namy’s practice encompasses sound, its history, and impact on the built environment. Working collaboratively through public sculptures and performances, Namy’s work considers the social construction of sound and the political forces that enable its transmission. As well, the artist’s work critically engages with the gender dynamics of sound, migration patterns of instruments, and the translation between languages, between score and sound, and between instruments, and bodies in movement and dance. Other projects by Namy explore the history and resonance of opera houses across eleven countries in the Middle East, and the archive of Arab American musician Halim El-Dabh, a pioneer of tape music (Wire Recorder Piece, 1944).