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.
7” – Corvo
Alessandra Eramo è una cantante, performer e sound-artist nata a Taranto, in Puglia, ma adesso di base a Berlino. La sua personale attitudine sperimentale sembra essere iscritta in una rilettura contemporanea della tradizione d’avanguardia, agita nella relazione puntale tra vocalità e testo, spesso utilizzando differenti forme di comunicazione che comprendono anche disegni, video e installazioni, espressioni viscerali e narrazioni simboliche. Alessandra Eramo ci ricorda presentando Roars Bangs Booms e citando direttamente “The Art of Noises” di Luigi Russolo che “la varietà di rumori è infinita”. Se già agli inizi del Novecento si poteva ascoltare e distinguere mille rumori è molto probabile che con il moltiplicarsi delle forme comunicative anche la nostra percezione sarà amplificata, in virtù non solo della semplice imitazione ma anche per l’accrescersi degli immaginari e della loro propensione combinatoria. Le intuizioni delle avanguardie storiche – insomma – anche in un orizzonte “after modern” sembrano ancora funzionare e suggerire nuove strategie e pratiche artistiche. Il lavoro della Eramo è intriso però anche di poesia fonetica, improvvisazione free form, field recording e non-music, territori di confine nei quali la voce e l’ambiente acustico in un contesto urbano e industrializzato sono riprodotti seguendo strategie spesso imperscrutabili, seppure in questa composizione l’interpretazione vocale è ispirata più specificatamente da otto parole onomatopeiche estratte dal manifesto futurista sopracitato. L’interpretazione è a tratti aspra ma profonda e sempre coesa, facendo leva su una notevole tecnica vocale, procedendo per frammenti e sovrapposizioni elettroniche, ad esempio facendo uso di un theremin, registratori e microfoni a contatto, affascinando all’ascolto fino “all’ultimo rumore”.
Musica Futurista. The Art of Noises: Roars Bangs Booms by Alessandra Eramo
