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.
igmade.edition, ISSN 1865-9357, Germany, 2008, English / German
Edited in Stuttgart by Asli Serbest, Mona Mahall and Gerd de Bruyn, this “Fanzine for Electronics and Aesthetics” is the newest experiment in integrating digital culture content into a broader cultural spectrum. With a Spartan layout, consisting of mostly articles and essays and no reviews, it is printed in a small, almost paperback, format. It’s hard to consider it a “fanzine” in a classic sense, as half of it is printed in full colour, and perfectly binded. On the other hand, in the most pure fanzine spirit, there’s extra content printed in an attached micro-newspaper (ironically titled “junkancial times”) and a cheap conceptual (“architect junk”) tattoo, stuck in the inside cover. Citing the first printed experiments by 20th century avant-garde movements, they want to stay out of the commercial loop, establishing a sort of internal “competition” between the printed and the online edition in a virtuous parallel and complementary life (although actually the online content seems just started). The editors are selecting practices, theories and visuals that questions, even at large, the electric/electronic technological paradigms. The declared intention is to offer an indirect political tool that can trigger unconventional use and reactions to technology. Actually it works as a container of stimuli, with a very different and wide spectrum of styles and themes, mashed up. In this sense it’s faithful to its “noise to signal” intentions, being more (positively) confusing than clarifying. It can be considered then a healthy hybrid of contemporary art, design, distorted pop, computer culture and urban theory.