Lucy Raven wanted to get wired. Searching for the networks of power that hold up global communications and commerce, she traveled from a pit mine in Nevada to a smelter in China to trace the transformation of raw ore into copper wire, the conduit for transmitting energy. China Town (2009), the resulting photographic animation, combines thousands of still images with on-location ambient sounds, locked together by wild sync—sounds that correspond to an image, but are not actually synchronized. For Raven, a New York–based artist whose practice incorporates photography, video, installation, and performance, the research becomes the work itself. Following China Town, Raven used test patterns for film and sound as both raw material and subject matter, turning the spotlight on standards for picture and audio quality developed by the Society of Motion Picture and Television Engineers. Her experiments in 3D filmmaking yielded video installations that place stereoscopic photographs within immersive surround-sound environments. Connecting all of these disparate strands is the artist’s continuing exploration into the effects of technology and labor in the production of movies, as well as the poetic relationship between sound and image.