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Ibn Tulun mosqueI was in Cairo in November 2008 to make a short film for an exhibition curated by Nav Haq and Tirdad Zolghadr entitled Lapdogs of the Bourgeoisie at the Townhouse Gallery.

Althought I had visited some twenty five years ago, Cairo is still an amazing experience.

In some downtime I went to visit two mosques side-by-side, the majestic Sultan Hassan and Ar Rifa’r which contains the tomb of the Shah of Iran. As a tourist you need tickets to enter. There was a wooden kiosk with a lady inside. I ask for a ticket.

First, trust seeped away in the debt markets. They seized, and the repercussions caused financial and 'real' economies to collapse. Trust is the most precious commodity in any market.

I'm reminded of a project I did in 2001 at Tate Modern and the Bank of England, Capital. Capital was a series of encounters between two iconic institutions and the economies they animate; the Tate and the Bank of England.

In Tate Modern and in the Bank of England Museum, at unspecified times during the day a visitor was approached by a gallery or museum official. "This is for you" accompanied the presentation of a beautifully packaged gift -a limited edition print.

I visited the South London Gallery on 25th February 2009, to see a new film by the Danish artists collective Superflex. Its entitled Flooded McDonald's. I've followed their work for sometime, because I'm interested in how they propose artworks as tools, capable of affecting change; with projects like Supergas, Free Beer - is a beer which is free in the sense of freedom, not in the sense of free (without a price) beer - its a FLOSS joke :-) - and CopyShop.

At the invitation of Scott Lash and Götz Bachmann (cultural studies, Goldsmiths), philosopher Bernard Stiegler (Centre Pompidou) and Robert Zimmer (computer science, Goldsmiths), a diverse group gathered at Goldsmiths to consider the idea of economies of contribution.

The workshop included perspectives from media, art, design, software and theory. In their introduction, the organizers outlined the emergence of a shift from consumer capitalism to an economy of contribution.

I was in Cairo in November 2008 to shoot a short film for an exhibition entitled Lapdogs of the Bourgeoisie. It's in a ‘reality’ TV style. A broadcast ‘trailer’, in fact a synopsis of a future programme. Its a copy of Faking It.

Lapdogs of the Bourgeoisie explores issues of class in contemporary art. Faking It is all about class.

Thursday the 19th February, I went to listen to an interview at the Goethe Institute between the filmmaker Harun Farocki and artist Kodwo Eshun. Harun screened a rough-cut of a work-in-progress entitled Immersion. Immersion is based on a first-person shooter games engine developed by the US military to train troops for service in Iraq.

Clunky graphics pan, track and zoom to reveal pixilated deserts, palm trees, 'arab' avatars, explosions, smoke and ruined buildings. The games-engine, with head mounted display and (plastic) XM8 interface has been released to a consortium of software engineers and psychotherapists. Cut to a therapist. The therapist is using the software to lead a traumatized soldier back, back to a scene of explosion, mutilation and death, back to site of their trauma.

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