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.
È in corso a New York, all’Hotel Pennsylvania, il Fifth HOPE, ossia la quinta edizione in più di dieci anni dell’Hackers On Planet Earth, la conferenza messa su dal collettivo che sta dietro la storica rivista 2600, tha hacker’s quarterly. Dopo l’ultima affollatissima edizione del 2002, stavolta in tre giorni ci saranno altrettanti keynote tenuti rispettivamente da Kevin Mitnick, Steve Wozniak e Jello Biafra. Lungo l’elenco dei workshop/seminari fra cui: ‘Automotive Networks’ sulle reti impiantate negli ultimi modelli di autovetture, ‘Building Hacker Spaces’ un workshop su come mettere su e mantenere uno spazio per hacker a cui partecipano Hasty Pastry di Cambridge, New Hack City di San Francisco, PUSCII di Utrecht, ASCII di Amsterdam, the L0pht di Boston, e l’Hacker Halfway House di Brooklyn, ‘Building the Anti-Big Brother’, sul ruolo estremamente positivo che possono avere i database per una società senza includere alcuna informazione personale, ‘The CryptoPhone’, sulla necessità di crittare telefonate se non si vogliono condividere con i database delle aziende telefoniche, ‘Hacker Radio’ sulle stazioni radiofoniche che dedicano spazio alle tematiche hacker, ‘Hacking More of the Invisible World’ sulle intercettazioni in HF, VHF, UHF, e microonde, ‘How the Great Firewall Works’, sul sistema di censura di Internet in Cina, ‘Indymedia 2004’, sulla copertura mediatica di Indymedia nei confronti della Convention Repubblicana e Democratica, ‘Media Intervention via Social and Technical Hacking’ sull’attività della Carbon Defense League, compreso Re-code, ‘Phreaking In The Early Days’ condotto dal mitico Captain Crunch e dal suo collega The Cheshire Catalyst sulle primissime esperienze di phone phreaking, ‘Tactical Media and the New Paranoia’ tenuto da membri di The Institute for Applied Autonomy (IAA), The Yes Men, e Critical Art Ensemble (CAE) e ‘Urban Exploring: Hacking the Physical World’, sull’esplorazione urbana di luoghi normalmente inaccessibili o dimenticati. Impressionante, infine, l’elenco dei film proposti quest’anno in cui fra l’altro ricorre il ventennale della stessa 2600: oltre a vecchie pellicole della Bell e AT&T;, saranno proiettate altrettanto datati film sulla phreak culture, video aziendali di ‘messa in guardia dai pericoli dell’hacking’, oltre al tedesco ’23’, al norvegese ‘NYC Hackers’, allo svedese ‘The Code’ dedicato a Linux e a diverse opere basate su ‘1984’ di George Orwell e una performance di Scott Beibin e del suo ‘Lost Film Festival’, un mixing dal vivo narrato di pellicole realmente underground fra cui alcune di Yes Men e Timothy Speed Levitch.
