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.
Palgrave Macmillan, ISBN: 9781137026668, 208 pages, 2012, English
The title of this book very effectively synthesizes a complex essence in a few words. Gere is here investigating how digital technologies, despite their promise to create spaces for virtual communication that bring people together, also offer “non-relations”, and so “non-communities.” The author argues that technologies and in particular networks fail to fill the infinitesimal gap which lies between humans, and through his research he expands on the term “digital” in terms of connections of hands and fingers (at some point quoting McLuhan’s articulation: “Touch is the space of the gap, not the connection.”). The substantial analysis spans all the way from the “haptocentrism” of Medieval Christianity to On Kawara’s contemporary artworks, in which the artist sent regular messages (initially postcards and telegrams) from remote places proving he was still alive. The book contains plenty of quotes of Derrida, who, despite his disinterest (shared with Kawara) in using digital technologies, proves once again his seminal nihilistic role in deconstructing communication media. So the path Gere follows is to use the concept of contingency, (underlined as coming from Latin “con + tangere”, or “to touch”) as a direction for describing how new media relates to community. The Luther Blissett chapter in this sense explains perfectly how the anonymity in public relationships can enable processes of recognition, impostering and community, reaching the idea of the differentiated identities from which we are constituted.
