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.
Scheidegger & Spiess, ISBN 9783858812100, Germany, 2008, English / German
Questo annuario pubblicato dal Dipartimento Art & Media della Zurich University of the Arts dettaglia il supporto dato alla giovane generazione di media artisti formatasi in quest’istituzione. Si tratta di un prodotto lussuoso, disegnato per aiutare a promuovere lavori talentuosi (e di conseguenza l’intera scuola) attraverso una combinazione di brevi testi descrittivi, molte immagini e un dvd allegato. Ci si ritrova davanti il lavoro di 13 artisti in totale (Valentina Vuksic, André Gwerder, Marc Lee, Lea Filodoro, Andalus, Markus von Glasenapp, Sven König, Annina Rüst, Meriem Bouhara, iMediengruppe Bitnik, Mario Purkathofer, Fabian Voegeli, Roland Roos), alcuni dei quali sono già stati capaci di ottenere una reputazione internazionale. Questo annuario offre l’opportunità di esaminare i new media da una prospettiva generazionale, e mette in dubbio se ci siano somiglianze all’interno di questo giovane gruppo svizzero. Una risposta immediata a questo si focalizza nell’idea della scelta di media specifici. Inoltre, ci troviamo di fronte a lavori che guardano con attenzione ai limiti tecnici e alle possibilità dei vari media e che esplorano la loro relazione con gli ambienti sociali e le loro regole. Inke Arns (che fa parte del gruppo docente) inquadra l’attuale sviluppo artistico nei termini post-mediali (che si spero aiuteranno a promuovere la rimozione del ridondante ‘new’ in ‘new media’) e stressa l’importanza di una valutazione critica e tattica degli strumenti utilizzati. Andreas Broeckmann, invece, in uno dei suoi “Sette brevi saggi su arte e media”, rinforza questa posizione affermando che “Sebbene quest’arte usi mezzi tecnologici digitali, è una modalità esperienziale che ci porta ai limiti di percezione, sensibilità e pensiero”. Ed entrambi sono semplicemente sul binario giusto.
