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.
The intent of Iain Mott and Marc Raszewski (with Jim Sosnin already authors of Sound Mapping ) Summoned Voices acts as 'living memory of places and people'. In practice it is an interactive sound installation in the form of doors or gates, connected together in a local network. On each door is visible the intercom button that users, individuals or groups are invited to press in to leave a sound / message and then listen to what comes back as a response (thoughts, expressions, sounds produced by those who have already passed ). A simple example of the dynamics of communication conveyed by the use of the digital instrument. Participants contribute to the construction of meaning by influencing the response each time in a different way: their voices are recorded on a computer (hidden behind each door) that analyzes the acoustic qualities and characteristics (length of sound, pitch, volume, intensity, frequency dominant discontinuity, dynamic range). A good approximation of the sound samples collected allow the software to determine if it is of tracks of songs, talked fast or slow, to boos … The samples (more parameters) from each port are then dumped on a central server where the database is working as a real center for collecting and sorting messages: The system compares the previous recordings and choose, among the possible answers, those with the sound parameters similar to the incoming message. The answer varies the variation of the stimulus that calls for identifying elements of continuity over time. In a playful manner the work-presented in 2003 in Eindhoven for the festival Art in Output – wants to return, even in the act of communication, the mark of a 'community' or, rather, the 'common condition' of those who belong to .
