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.
Does Wikipedia utopia wobble? Is the free content editing of the free encyclopedia in contraddiction with the oligarchic stucture of the community that coordinates it? The software artist Wayne Clements seems to reply to all these question an affermative way with the projectun-wiki. It is a text generator, written in Perl, that retrieves the contents refused by Wikipedia and makes them visible dinamically. The source is the Deletion log, a list of all the pages that have abused WikiÕs democratic remit with fake information and vulgarity. The Un_wiki script gets the offending text and turns it to anyone, encouraging the prudish user to ‘leave nowÕ if unprepared. The goal to explore the antagonism between formal democracy of Wikipedia, where anyone (if logged in) can edit a page, and the censorious attitude of the sysadmins who can correct or delete every contribution. In spite of the interesting analysis that Wayne Clements is develpoing on Text Machines, showing that an artwork may be composed od instructions for purely textual manipulations. The radical polemic that feeds the project it’s not easily agreeable. If it is true that software art is radical by definition, because of its subversive attitude that acquires institutional codes translating them into sarcastic speech, the blue ribbon against Wikipedia is excessive. If the wiki, conceived according to the principles of free partecipative collaboration, institutionalize itself while growing, it doesnÕ mean that it betrays its nature, but that it is learmnig the compromises of the adult age, that is web 2.0.
Valentina Culatti
