Free To Play: A Live Video Game Performance redefines interactive theatre by merging live performance with real-time gameplay. Supported by the Frank-Ratchye STUDIO for Creative Inquiry, the production explores how digital platforms, gamification, and audience participation reshape creative agency and engagement in contemporary performance.
The Bear’s season 4 faces criticism for moving too slowly, but this review argues why the slow pacing is essential to the show’s exploration of trauma and the healing process. By analyzing key episodes, such as Sydney getting her hair done and the big fight at the end, this article explains how the show focuses on teamwork rather than individual genius. The analysis covers the season’s most impactful moments and states why patience in storytelling matters for representing what real recovery looks like.
AMT Lab has been using Descript and Otter.ai for many years. Both have matured and created unique value propositions for creators, artists, and arts organizations. The following offers a summary of the tools and uses from a podcasting point of view. However, they have other valuable business uses that are easy to see. Selecting the best tool for your use will be dependent on budget and intended projects.
As AI companies face widespread criticism for training models with unlicensed other content, Bria.ai reimagines generative AI with artists rights at the forefront. Learn more about how this startup is sourcing licensed content, tracking how specific images influence outputs, and compensating creators for their work.
MuseumNext’s virtual Green Museums Summit took place on February 26 and 27, 2025, featuring speakers from institutions worldwide. Each shared their unique approach to addressing climate change, whether through their facility, day-to-day operations, or programming. Hannah Brainard, AMT Lab’s Chief Editor, shares key themes and takeaways from the conference.
AMT Lab has been using Descript and Otter.ai for many years. Both have matured and created unique value propositions for creators, artists, and arts organizations. The following offers a summary of the tools and uses from a podcasting point of view. However, they have other valuable business uses that are easy to see. Selecting the best tool for your use will be dependent on budget and intended projects.
As AI companies face widespread criticism for training models with unlicensed other content, Bria.ai reimagines generative AI with artists rights at the forefront. Learn more about how this startup is sourcing licensed content, tracking how specific images influence outputs, and compensating creators for their work.
Co-Intelligence: Living and Working with Artificial Intelligence by Ethan Mollick, offers a balance of playfulness, thoughtful analysis, and clarifying frameworks for working with artificial intelligence. In this book review, Dr. Brett Ashley Crawford shares a summary of what you will find in the text and a list to grow your bookshelf to better understand the opportunities and costs of Generative AI as it infiltrates our devices, work, and life
Artificial intelligence is making headlines every day, but how can we, as cultural workers, use AI ethically and effectively in our jobs? While large LLMs like OpenAI offer workers AI assistance, they come with a significant impact on the environment, hallucinations, bias, and ethical concerns regarding copyright. Smaller LLM tools solve some of these issues. The following review analyzes NotebookLM, a Google experiment, that i particularly useful tool for researchers, students, and other knowledge workers engaged in complex information.
At the core of fundraising is the relationship between a nonprofit and those constituents who are most passionate about that organization’s mission. As development professionals it is vital to find touchpoints that cultivate and maintain these mutualistic relationships. Convenience for the donor is critical to getting a first gift that leads to a sustained philanthropic relationship. DipJar offers a unique giving opportunity for organizations “on the road,” those with a facility, or those hosting fundraising special events.
Computer science professor at the University of Chicago, Ben Zhao, created Nightshade, a tool to help defend artists from copyright infringement from GenAI companies that are scanninging their existing artwork. Clever in name, the tool has been purposely named Nightshade for its poisonous origins, a plant that was historically used to poison kings and emperors. Zhao’s digital Nightshade offers a future for artists to reclaim the ownership of their work from the artificial intelligence programs who use them.
As VR, AR, and MR technologies continue to advance, art organizations can leverage them to create immersive experiences, enhance collaboration, and engage with audiences in new and exciting ways, revolutionizing the way art is created, experienced, and engaged with. The Apple Vision Pro’s mixed-reality is rising to the top as an optimal contender in comparison to already existing competitors in the field.
Emerging from COVID-19 lockdowns, being able to attend performing arts performances in person has felt like a sensory treat. Feeling the energy of the collective audience, the soft whispering and rustling in seats, the sounds of footsteps as performers take the stage, the low hum of stage lights - being present with art as it is performed heightens the senses in a way that its virtual counterpart simply cannot, in spite of numerous advances in the digital landscape over the last two and a half years.
Enter the Neumann KU 100, or “Michel” as Kevin Noe, Artistic Director of Pittsburgh New Music Ensemble (PNME), affectionately calls the humanoid microphone that sits at the center of ensemble’s 2022 season finale show, literally and figuratively. The microphone is a feat in binaural audio, engineered to replicate how sound travels through the human ear. When heard through headphones, it’s as if the listener’s head is placed right where the microphone is placed. For PNME’s performance, this meant that the audience’s ears were placed on stage between a cello and clarinet, surrounded by an ensemble of musicians.
