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 MIT Press
This book is a small gem among the many dealing with the history of media art. Stephen Jones has undertaken an excellent and extensive research project, digging not only into his valuable personal archive of Australian media art (patiently assembled over decades) but also sifting through public libraries and private collections. This is neither a dispassionate nor pretentious academic work. It is, moreover, an extremely rigorous investigation – the result of years of passionate personal involvement. He begins with the dawn of computer arts in the late fifties and ends with the milestone exhibition “Australia 75”, framing events in Australia within an international context. As the author affirms, the domestic scene was not isolated during this period, but actively in touch with contemporary entities in Europe and the U.S. What makes this work impressive is the intertwined history of early electronic devices and the art that developed along with them. Rather than simply ‘instructive’, the book reveals itself as an essential reference point for understanding this time period. We learn that “it is the display technologies that govern what kinds of art are possible and how it will be seen.” Every artwork is effectively contextualized in terms of contemporary festivals, exhibitions, and publications on one side and technical innovation and experiments on the other . The book is fully enjoyable, with plenty of historical material, including never-seen-before original pictures that are unquestionably inspiring.