Author: Declan Roberts

The audiovisual installation created by United Visual Artists for Printworks London’s reopening is a great example of how art can enhance the experience of a space. UVA’s concept of imagining the club as a sentient being, coming back to life after a long slumber, creates a narrative that evolves with each event. The use of cutting-edge technology, sculpture, and performance to create this immersive environment adds a new layer of sensory experience for the audience. This installation shows the potential for site-specific installations to bring life to a space and create a unique experience for visitors. It also highlights the importance of collaboration between artists and institutions to create something truly special.

An ambitious installation of over 70 Genelec loudspeakers allows visitors to Helsinki’s Amos Rex museum to really immerse themselves in works of art. The opening exhibition, created by the Japanese artist collective teamLab, consists of four interactive, computer-generated pieces in which the visitors can experience the space using all their senses

“Sonic Warfare: Sound, Affect, and the Ecology of Fear” by Steve Goodman explores the use of sound and music as tools of surveillance and control. The book argues that sound has the ability to induce fear, anxiety, and even physical pain, and that it has been used as a weapon of war and as a tool of social control. In the context of surveillance, the book suggests that sound technologies can be used to monitor and regulate individuals and populations, and that this has significant implications for privacy and civil liberties. By examining the ways in which sound is used to shape our environments and our experiences, “Sonic Warfare” raises important questions about the relationship between surveillance, power, and the senses.

In George Orwell’s “1984,” the protagonist Winston Smith lives in a dystopian society where the government monitors citizens’ every move, thought and expression. This theme of surveillance has become increasingly relevant in modern times, particularly in the context of art exhibitions. Contemporary artists have incorporated surveillance technologies into their works to challenge the audience’s perceptions of privacy, control and power. These works often raise questions about the use of surveillance and its impact on individual autonomy and social dynamics. By highlighting the ubiquity of surveillance in our daily lives, art exhibitions can prompt critical reflection on issues of privacy and the ethics of surveillance, encouraging viewers to consider their own role as both watchers and watched.

The article discusses the use of surveillance technology in the context of the 2011 Occupy Wall Street protests in the United States. The author argues that the widespread use of surveillance cameras and other monitoring techniques by law enforcement during the protests represented a significant violation of civil liberties, and that it had a chilling effect on free speech and assembly. The article examines the ways in which surveillance technologies can be used to monitor and control dissent, and argues that they represent a threat to democracy and individual rights. Overall, the article highlights the potential dangers of unchecked surveillance and the need for greater transparency and accountability in the use of such technologies.

https://muse.jhu.edu/article/435102

The article explores the idea of eavesdropping in contemporary art, focusing on works that involve the recording and playback of conversations overheard in public spaces. The author argues that these works offer a unique perspective on the ways in which individuals communicate and interact with each other, and that they challenge traditional notions of privacy and consent. The article examines a number of specific works that use eavesdropping as a thematic or formal element, and considers the ethical implications of such practices. Ultimately, the author suggests that eavesdropping in art can be a powerful tool for exposing the hidden dynamics of social interaction.

https://artreview.com/ara-winter-2019-review-eavesdropping/

According to Foley artist Stefan Fraticelli, who’s worked on TV shows like “Parks and Recreation” and “Fargo” and movies like the “Conjuring” series, footsteps are the most challenging sound for a Foley artist to master. Finding the right footwear, surface, and sync is not always straightforward. For example, if he has to match a pair of high heels on-screen, real heels will produce an unpleasant sound against rocks or dirt, so he’ll use sneakers instead. And if he wants to create creepy creaking sounds on a wood floor in a horror movie, he’ll have to do it with just socks on so the sound fully comes through. Meanwhile, Stefan needs to have a really sharp ear for the subtle differences between the sounds of different types of rocks, because it won’t sound right if his Foley materials don’t exactly align with what’s on camera. Finally, keeping up with all the action on-screen involves a lot of practice in everything from rhythm to proper weight distribution. Sometimes, it sounds better to create tap-dancing sounds with your hands instead of your feet.

Research into how i have to create footsteps for my score.

https://www.vionlabs.com/post/how-sound-design-triggers-emotion

Sound design greatly contributes to the feelings of the audience while watching a movie. Valuable information about the emotional aspects of a film is contained in the sound design, so understanding how it works and what it tells you is a key aspect to grasping what your content is all about.

A great read on how the score for the film came to be and the influences of Herrmann on the film. Used for research on my score.