Critical digital culture and media arts · Since 1993
The Neural Archive is a repository of publications collected by us during the years. Browse our collection here.
Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
The value of craft after software sounds rampant sometimes, expressing the freedom of escaping repetitive taps and clicks to accomplish some assumed tasks. Mixing media, electricity, electronics, mechanics and inert objects Graham Dunning has realised a structured track/performance/open script in his “Mechanical Techno: Ghost in the Machine Music.” More than a proof of concept a machine music declination.
Isn’t ASCII Art a perfect form of “graffiti” in 2010s? The 8-bit aesthetics is among the strongest visual references connecting the analogue recent past with the omni-digital present, so why not adopt it to finally have some public art embedded in the present? In Varberg, Sweden, 2016, the GOTO80 crew (feat: Karin Andersson) did it, choosing (not by accident) the Mo Soul Amiga-font.
YesNo by Timo Kahlen feels like “traditional” net art, a well crafted stuck webpage for the user’s aural and clickable enjoyment.
The relationship between Andy Warhol and personal computers (becoming quite popular during his last years) has been only partially investigated beyond his Amiga works. In November 2015, Sotheby’s sold his “Apple (from Ads)” (acrylic and silkscreen ink on canvas) for 910.000 USD, and in catalogue’s notes Warhol tells about his meeting with Steve Jobs insisting to give him one and showing him how to draw (even if still in black and white): “we went into Sean [John Lennon’s son]’s bedroom–and there was a kid there setting up the Apple computer that Sean had gotten as a present, the Macintosh model. I said that once some man had been calling me a lot wanting to give me one, but that I’d never called him back or something, and then the kid looked up and said, ‘Yeah, that was me. I’m Steve Jobs.’ And he looked so young, like a college guy. And he told me that he would still send me one now. And then he gave me a lesson on drawing with it. It only comes in black and white now, but they’ll make it soon in color…I felt so old and out of it with this young whiz guy right there who helped invent it.”
Harsh Noise Wally, is a sophisticated mashup mixing strips of Wally, the lazy and cynic colleague of Dilbert with some epic noise music extreme attitudes. Well conceived and assembled.
Minority Report comes closer… Three huge screens at Birmingham New Street railway station are scanning passers-by and play advertisements accordingly. http://www.birminghammail.co.uk/news/midlands-news/new-street-station-advertising-screens-9920400
GoPro ancestors in the 1960s and 1970s, mainly sport and movie persons like F1 driver Jackie Stewart, Bob Sinclair and Steve McQueen.
Is in progress at the Round House Community Centre in Vancouver the 2003 edition of the New forms Festival , which entitles its third edition of 'inter [sec / ac] tion', ie art that intersects the media and disciplines interacting with artists, academics, students and the whole community at large. Camille Baker has taken care of both of the installations that relating to the net.art. Among the first were David Rokeby, Shirin Kouladjie , Andrea Polli ('The Fly's Eye', the processes of vision in flight), Fabian Winkler ('Clink!', a color-mixer interactive cocktail glasses), Kenneth Newby, Aleksandra Dulic, Joanne Woods ('Peekaboo', past and present in a dark room), Julie Andreyev and Christpher Kowal ('VJ-Fleet', minivans where screens are mounted on the back to see the video mixing and broadcasting in Fm a DJ set which is carried inside), Owen Milburn and Dominic Girard, Reva Stone ('Carnivale 3.0', video and audio into a human shape emptied), Paul Wong ('Hungry Ghosts', the spirit of death in his fragments memory), Paul Catanese ('Super Ichthyologist Advance', a Gameboy Advance modified to display inside a fish imprisoned). In the section, however, the art on the net are 'terminus1525', a collaborative pilot project, Anne-Marie Schleiner – ' Velvet Strike ', Garrett Lynch with '_pause' and 'bannerart' , 'Oculart' , Agricola de Cologne , akuvido – Stadt Sound Station, Andrew Ackerman – 'Rose Breathing' a synthetic view, Ian Andrews – 'Ether1' and 'Fluoroscopy', generative works inspired by shortwave radio transmissions, Room – 'SoundToys.net', a collection of sound experiments on the web, Jody Zellen – ' Disembodied Voices ', Kate Armstrong and Jeremy Turner -' IN_CORP ', a performance seen on the corporation as an entity transhuman, LeCielEstBleu -' PuppetTool ', Michaël Sellam -' La Langue if Charge ', Tal Halpern – 'Digital Nature: the Case Collection', a work that transforms an online catalog of a library in an experimental narrative, David Clark – ' A is for Apple 'and Paul Thomas -' Spatial Emergence: Transphysical City ', on the relationship between space, place and their perception. Video, film, performance, sound art, and evening concerts complement the full-bodied program.
