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.
Dust Bunny by Alan Warburton is a small bunny composed from “dust harvested from ten visual effects workstations” at Studio Mainframe. The bunny is not an accidental shape, but an exact representation of the so-called Stanford Bunny, a 3D test →
Fitness data has become one of the most popularly produced “big data” about us as quantified selves. The tricky mechanism, successfully enabled by fitness-related technologies, aims to grant instant rewards through slick interfaces and precise quantifications, inherently subverting the fact →
We don’t need to resurrect McLuhan to notice whole armies of technological prosthetics surrounding us. If we stay on a symbolic level there are countless, but even if we restrict our search to the corporeal level there are still a →
Among the essential qualities of photography are its limited space and unity, a feature that has been deeply altered by digital technologies. Since the first digital photograph, in fact, the rendering of visual information as discreet, instead of continuous as →
Neural #54 extra is Megacorp interim report by KairUs.org (Linda Kronman & Andreas Zingerle), a printed publication with highlighting key figures on 1000 evil web business (only for subscribers to the printed magazine).
As Kronman and Zingerle explain:
“”Megacorp.” is →
Taking a representation of a popular place and stripping out any living presence or natural element not only abstracts its structure, almost shifting it back to an architectural model, it also renders a completely different environment. Hugo Arcier’s “Ghost City” →
Early electric radio and turntables with their recognizable aesthetics are like totemic symbols in our hyper-mediated present. But they also historically represent an intimate moment of listening, with some artificial light emitted through their structure. This modernist fascination is the →
Paolo Cirio has researched different social systems in his artistic activity, always finding tactical methods to conceptually destabilize these through the use of contextualized and strategic technologies. In Obscurity (after Overexposed) he once more addresses a facial recognition system, but →
Google Poetics, or the art of the “autocomplete” has become a genre, as can be observed in works such as “Autocompleteme” by Jérôme Saint Clair and Benjamin Gaulon, or “Google Poems” by Sampsa Nuotio. Some of their strength is in →
Take no Hikui-Ki no Take wa Hikui is a work by Muku Kobayashi, composed by cinematic sound machines. Even if the first reference to pop up in the mind might be Russolo’s famous “intonarumori,” these wood-based constructions are substantially different. →