Critical digital culture and media arts · Since 1993
L'Archivio Neural è un archivio di pubblicazioni noi raccolte nel corso degli anni. Sfoglia la nostra collezione qui.
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.
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18.04.02 Version02, festival cultura digitale radicale.
Si apre il 18 aprile al Museum of Contemporary Art di Chicago (USA) Version02, festival di cultura digitale radicale che centra la selezione degli artisti e le sue attività sui cosiddetti ‘digital commons’, una metafora per descrivere gli spazi pubblici usati per comunicare e distribuire idee e per condividere tool e risorse. Le opere affrontano la tecnologia per un suo uso tattico e creativo e i media digitali per creare strategie per il mantenimento e l’espansione degli spazi pubblici di comunicazione. I progetti di net art inseriti sono dodici: ‘After Sherrie Levine’ di Michael Mandiberg (vedi Scansioni di foto di altre foto.), ‘A-virtual-memorial’ di Wilfried Agricola de Cologne, un archivio di narrazione storica, ‘BuyOrBeware’ di Andrew Venell, storie quotidiane in spazi pubblici, ‘The Images Pillager’ di Ben Chang, un sampler del rumore bianco delle immagini in rete, ‘User Empathy Engine v.2.0’ di TENbyTEN, sulla collezione di dati personali da parte del marketing, Self-Portrait di Brooke Singer (vedi Self-Portrait (v2.0).) Borderhack di Fran Ilich (vedi Borderhack online exhibition.), ‘Things may have never known’ di Trevor Paglen, che spaccia film underground per campioni di botteghino su Gnutella, ‘The Church of Software’ dell’italiano Carlo Zanni (vedi Net art italiana: i paesaggi della chiesa del software.), ‘Newzoid’ di Daniel Young (vedi Falsi titoloni autogenerati.), ‘Space Navigable Music’ dei LAB[au], sui concetti di spazio e tempo applicati attraverso il suono alla terza dimensione, e ‘Sodaplay’, le curiose creature animate filiformi, creabili e modificabili dall’utente. Fra i dibattiti ‘The Work of Art in the Age of Convergence’ con Eduardo Kac e Miltos Manetas, ‘Who’s the Tool?’ con Paul B. Davis, Cory Arcangel, John Dekam e Rob Ray, ‘Naked Apprehensions of Technology’ con Katherine Behar, Steve Dietz, Tiffany Holmes e Dan Sandinn, ‘Alt.Media’ con Stephen Marshall (Guerrilla News Network), Sander Hicks (Soft Skull Press), Rachel Rinaldo (Indymedia Newsreel) e Paul Dechene and Dave Niddrie (Adbusters), numerosi workshop, fra cui uno dell’Institute for Applied Autonomy, e un altro, ‘Tactical Gizmology’ curato dai Critical Art Ensemble e Beatriz da Costa. Per finire, oltre ad un fitto programma di cortometraggi, una retrospettiva dei Negativland Films a cura di Mark Hosler, e un live audio-visuale degli Hexstatic (Ninja Tune), sarà effettuato anche il ‘2002 Beige World Cassette Jockey Championship’, l’unica competizione per dj che utilizzano le cassette (‘cj’, cassette jockey).
