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.
Victoria & Albert Museum, ISBN-13: 978-1851777976, English, 144 pages, 2014, UK
L’arte contemporanea globalizzata indaga su questioni attuali che possono essere spesso totalmente pretenziose ma anche – a volte – brillantemente accurate. “Disobedient Objects” rientra in quest’ultima categoria, essendo una mostra sugli oggetti che sono stati ri-pensati per scopi politici. I curatori Catherine Flood e Gavin Grindon hanno studiato e contestualizzato ciò che è “dietro” questi oggetti e hanno discusso circa nuovi possibili utilizzi creativi degli stessi. Già riconosciuti e apprezzati per il loro uso primario, le loro funzioni reinventate e i nuovi significati simboleggiano il dispiegarsi di strategie specifiche ed efficaci per la socialità, in particolare nelle loro materializzazioni in spazi pubblici. Questo approccio tempestivo, definito come “design ingenuity” e “collective creativity” è stato indagato per un periodo che va dalla fine degli anni settanta ad oggi, una sorta di nuova definizione di contemporaneità: un’epoca in cui le nuove tecnologie e i media hanno completamente ridefinito le strategie di comunicazione politica. Con i loro nuovi significati ambigui questi “oggetti” costituiscono una categoria alquanto vaga che è rispecchiata anche in come il catalogo di accompagnamento è stato compilato e progettato, documentando diversi racconti impliciti o espliciti, innescato da adeguate “innovazioni” in contesti diversi (dalle barricate alle infrastrutture di comunicazione DIY, alle diverse attitudini nazionali), comprendendo anche una “How-To Guide”, un classico tutorial per la costruzione di oggetti specifici (che ricorda sistemi analoghi di certe pubblicazioni anarchiche), che sono liberamente scaricabili dal sito della mostra. Il tutto, alla fine, dà luogo a una pubblicazione molto ben documentata e concepita.
Disobedient Objects
