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.
The MIT Press, ISBN 9780262113113, U.S.A., 2008, English
The cover of Mechanisms shows a hard drive recovered from the ruins of the World Trade Centre, a scorched and partially destroyed ‘black box’ from which data was nevertheless successfully recovered in the aftermath of the terrorist disaster. A haunted artifact, this unsettling image speaks volumes of the persistent materialities that make up our so-called information age, a theme that is rigorously pursued by Matthew Kirschenbaum in this innovative study of inscription devices and digital storage. Combining insights from textual analysis and software studies, a number of assumptions about the ephemeral nature of digital systems are thoroughly undone and reconceived as the remarkable engineered durability and processuality of ordinary hard drives is elaborated throughout the book. Beyond technical discussions of data clusters, error correction, magnetic force microscopy and other esoteric subfields of computer science, Kirschenbaum applies a formalist reading of several influential electronic texts, including Michael Joyce’s Afternoon: a Story, William Gibson’s ‘Agrippa’ and a disk image (.dsk) of the Sierra On-Line videogame Mystery House (through which, amazingly, traces of prior inscriptions are revealed, older games once stored on the original floppy disk, the remnants of a past media ecology). In doing so, some useful conceptual distinctions are offered, with far-reaching consequences for debates in the field of new media more generally, including a detailed explanation of how von Neumann architectures offer a working model of immateriality via the implementation of a vast material cascade of affordances. Here, Kirschenbaum’s notion of forensics comes to the fore as a thought-provoking take on the complexities that emerge between singular moments of inscription specific to an otherwise standard (formal) digital object within a software environment. Mechanisms takes us to the far limits of technological imagination in this way, a world of archival surfaces beyond our regular perception, but integral to the infrastructures of contemporary everyday life, arranged through a precise and managed indeterminacy: ‘a buzzing nano-gap between the magnetic read/write head of the drive and the surface of the platter below, moving at some 10,000 RPM, the distance separating the two akin to flying a jumbo jet inches above the surface of the earth’.
Michael Dieter
