“Jenny Holzer’s history as a typesetter feels obvious, once you’re acquainted with her signature text-based artworks. From PROTECT PROTECT at the Museum of Contemporary Art, Chicago, Holzer recounts her fondness for programming the LED electronics that display her statements. Within the programming process, Holzer curates the speed of the revolving message, and orchestrates the pauses and flashes of the phrase. The emission of light by the LEDs is affected by each of these variables, simultaneously influencing the mood and energy of the exhibition space.”
“Artist Shahzia Sikander, filmed in her Manhattan studio, discusses her animated video work The Last Post (2010). Sikander also describes how beginning to create animations was a natural evolution in her studio process because she had already been working with narrative and layering in her paintings and large-scale installations.”
“The artist and composer Christian Marclay works with the interplay of sound and images through a variety of media, ranging from performance to printmaking, video, and collage. Marclay recounts his artistic beginnings as an experimental DJ and musician without formal training, when he was influenced by conceptualism, musique concrète, punk rock, and the work of John Cage. These early experiments with sound and collaborations with artists from a diversity of backgrounds laid the foundation for Marclay’s “graphic scores,” his works that visualize sound through drawing, prints, and video and then transform those visuals back to audio experiences and performances. The segment surveys the extraordinary scope of an artist for whom “a lack of rigid rules is really important,” including an interactive installation composed of Snapchat videos, graphic depictions of onomatopoeias that are performed vocally, and a musical performance created by replicating pianists’ hand postures seen in photos. Unexpected, playful, and often challenging, Marclay’s work is an investigation into our contemporary visual and audio culture.”
“Known for his large-scale, interactive installations, Rafael Lozano-Hemmer uses contemporary technologies like computerized surveillance, heart-rate sensors, and robotics to create participatory experiences and platforms for public participation and connection. The artist frequently works in and transforms public spaces, creating awe-inspiring, poetic, and critical installations, like Voz Alta: a massive megaphone system erected in a Mexico City plaza to commemorate the infamous Tlatelolco student massacre in 1968. Spurred by his Mexican heritage and the growing nationalism in the United States, Lozano-Hemmer embarks on his most ambitious project to date: Border Tuner, an enormous intercom system at the border between El Paso and Juárez that allows participants from both sides to speak and listen to each other via radio-enabled searchlights. At his studio in Montreal, the artist works with a team of scientists, engineers, programmers, architects, and designers to develop the project; at the El Paso–Juárez border, he invites local artists and performers and members of the public to use Border Tuner to listen to, share, and visualize their voices and stories.”
“The materials gathered here grew out of a Great Lakes Association for Sound Studies (GLASS) conference in 2022, on the theme of ‘Listening as a Shared and Social Practice.’ Responding to a turn in sound studies that considers the role of listening, the conference call invited presentations, workshops, and performances that considered the co-constitutive nature of listening. This volume contains activities and essays that create starting points for listening and noticing more deeply, through different frameworks and lenses. Several themes run throughout the collection: collective study of/though listening; embodied listening; imagination and place; resonance and response.” Contributing authors: Josh Rios, Fereshteh Toosi, Lorelei d’Andriole, Jami Reimer, Nikki Lindt, Eleni-Ira Panourgia, Lisa Sandlos, Rennie Tang, Steve Stelling, Sean Steele, and Magda Stanová.
Collin Bradford wrote this guide specifically for BYU students using the equipment available through tech checkout. “How to use the MOTU UltraLite AVB audio interface with your software (Adobe Audition or Max/MSP) to control spatialization of sound in sound installations.”
“This is a short video detailing the basics of P-Frame Datamoshing.”
“This is a short video detailing the basics of I-Frame Datamoshing.”
“Depending on your room size and budget, lighting your green screen can be very tricky. In this second video of my green screen tutorial series, I show you how to best light your background and your subject. No matter if you have a big studio available, or a tiny office.”
“DaVinci Resolve chroma key 3D qualifier easily fixes green screen shadows, wrinkles and other problems that normally result in a bad key.”