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.
Artists Ethan Miller and Ethan Ham have made an art installation in the Schneider Museum of Art, at the University of Southern Oregon, that transforms their university into the University of Jefferson, at least temporarily. The installation is called ‘The Virtual State of Jefferson’ . The work is a poetic yet also reflection of the desire of residents in this area to form a separate, fifty-first state of the USA: the state of Jefferson. This separatist movement was very close to achieving its goal just before the Second World War, but Pearl Harbor destroyed the opportunity by scattering the movement’s energy. The dream of the state of Jefferson did, however, never really fade. The artists give this old separatist movement a new and effective impulse by making the state of Jefferson a part of the borderline reality of the world as seen through the eyes of search engines. ‘The Virtual State of Jefferson’ is one of those lovely crossover works combining conceptual art, intervention art and software art. Technically it is based on the ‘upside-down-(In)ternet’, a mild ‘hack’ created by someone who did not like his neighbors accessing his wireless network. Anybody accessing the router is redirected through a server running software that changes the look of his or her browser. In the case of ‘The Virtual State of Jefferson’ the word ‘Jefferson’ automatically replaces any appearance of the names ‘Oregon’ and ‘California’. Reality hacks are my favorite. They reveal the pitfalls of perception, which have been deepened by the murky overlapping realities of online and offline worlds. We trust our search engines to safely navigate through them. As long as we don’t get upside down search results, we barely doubt them. That is why, when surfing in the Schneider Museum of Art, Redding California now IS Redding Jefferson. Just imagine the future of news media.
Josephine Bosma
