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.
L’ edizione 2007 di Transmediale, festival for art and digital culture, intitolata Unfinished s’inaugura il 30 Gennaio alla Akademie der Künste di Berlino. É il ventennale del festival che all’inizio si chiamava Videofest. Dopo le edizioni del2001, 2002, 2003, 2004, 2005 e 2006 Andreas Broeckmann dirigerà la sua ultima. Dopo un lavoro eccellente negli anni passati, in cui è riuscito a costruire uno dei maggiori festival mondiali di cultura digitale, mediando i necessari rapporti con le istituzioni con tutte le diverse anime (incluse quelle più oscure) di quest’ambito culturale. Viene quindi da chiedersi se anche il titolo faccia forse ironicamente riferimento al suo lavoro. Non lo sapremo mai, ma il nuovo direttore artistico sarà probabilmente annunciato durante l’opening e le voci dicono che sia una persona molto conosciuta, già familiare col festival e uno dei candidati ideali a prendere il posto di Broeckmann. Quest’anno ci saranno tre keynotes: ‘Fractal Flesh’ di Stelarc, ‘Born Again Ideology’ di Arthur Kroker e ‘The Finality of Algorithms’ di Friedrich Kittler. Nell’affollato elenco di panel, poi, ci sono: una storia del network internazionale di artisti video Infermental, la piattaforma open source di giochi politici Bordergames, una conferenza di quattro ore su ‘Whatever happened to tactical media?’, ‘Mediascape in Iraq’, David Rokeby che presenta i suoi lavori, la presentazione del progetto di Greenaway ‘The Tulse Luper Journey‘, artisti che lavorano con l’ultra propagandato Second Life e, infine, ‘Media Art Undone’ sul concetto così liquido di media art con Miguel Leal, Diedrich Diederichsen, Inke Arns, Olia Lialina (intervistata su Neural 23) and Timothy Druckrey. Due presentazioni di libri: ‘Book of Imaginary Media’ curato da Eric Kluitenberg e ‘Networking, The Net as an Artwork’ di Tatiana Bazzichelli (presentato con Gaia Novati e Jaromil), oltre ad un paio di promettenti performances: quella dell’Orchestre Méchanique, e ‘Specification.Fifteen’ di Taylor Deupree and Richard Chartier. I lavori che concorrono all’award sono ‘Cabinet’, video di Tim Shore, l’installazione ‘Proof of Life’ di Herman Asselberghs e l’intero lavoro di Antoine Schmitt. Al Club Transmediale al Maria Am Ostbanhof, oltre ai molti live e dj set c’è un lavoro generativo di Marius Watz (‘Illuminations 1.1), un workshop + concerto dei Lab[au], il reacTable diSergi Jordà, Marcos Alonso, Günter Geiger e Martin Kaltenbrunner, e infine fra le proiezioni c’è quella di ‘Essays on Radio: Can I have 2 minutes of your time’ edita da Cronica. E come ogni anno molti eventi fuori dal programma ufficiale avverranno in città, ma il passaparola è ancora l’unico modo di scoprirli.
