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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04.09.02 Violence Online Festival, opere online sul concetto di violenza.
La violenza è uno strumento, un processo vitale e necessario o solamente il risultato di cause e meccaniche complesse? Se è vero poi che gli artisti inevitabilmente riflettono lo stato fisico e psicologico dell’ambiente in cui vivono, come si manifesta in arte questo lato oscuro da sempre radicato nell’uomo? Sotto forma di azione, reazione o riflessione? È da questi spunti che prende forma il progetto Violence Online Festival, curato e creato in flash da Agricola de Cologne in occasione del festival internazionale ‘VioLENS Festival’ di T‡bor (Repubblica Ceca). Più di 150 artisti provenienti da tutto il mondo (per l’Italia fra i nomi noti c’è Caterina Davinio) hanno partecipato a questo evento con opere di textual poetry, visual-poetry, web art interattiva, immagini e suoni elettronici in streaming. Il complesso di opere presentate non ha l’obiettivo di prendere posizione a favore o contro la violenza, semplicemente essa diviene soggetto di riflessione individuale che assume molteplici sfumature, quanti sono gli sfondi culturali che la generano. L’intento del progetto si sposta quindi dalla riflessione artistica ad una re-azione nei confronti del ruolo fondamentale che giocano i mass media mostrando, spettacolarizzando e persino promuovendo la violenza. Per fare ciò, l’environment simula ironicamente l’interfaccia di una media-company virtuale chiamata ‘Violence Media Corporated’ e divisa in dipartimenti differenti (ad esempio ‘Violence for happiness’, ‘Violence net’, ‘Violence marketing’), dando ai lavori contenuti un diverso significato. Navigando in questo art-network, il visitatore è quasi costretto a porsi nuovi interrogativi e a cercare necessariamente delle risposte.
Clemente Pestelli
