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.
CD – Buh
Questo CD è una ristampa in edizione limitata di sole 300 copie – che fa parte della Sounds Essentials Collection rilasciata dalla Buh Records – e il progetto è quello di preservare alcune opere fondamentali della musica peruviana d’avanguardia che saranno periodicamente pubblicate sull’etichetta. L’uscita è stata resa possibile grazie al supporto di ATA (Advanced Technology Andina) e – nello specifico della musica di Arturo Ruiz Del Pozo – ci sembra particolarmente meritevole d’attenzione: la densità delle suggestioni, la modernità e la coerenza delle strutture compositive sono assolutamente uniche per qualità, attitudine sperimentale e coinvolgimento all’ascolto. Music For Native Peruvian Instruments And Magnetophonic Tape fu registrato al Royal College Of Music dell’Università di Londra, nell’Electronic Music Studio, esattamente fra il 1976 e il 1978, un periodo a partire dal quale sarà abbastanza consueto che – da uno strumento solista fino a una grande orchestra sinfonica – i musicisti sperimenteranno nuove texture musicali annettendo come proprie influenze “altre”, utilizzando in aggiunta tutte le possibilità combinatorie offerte dall’utilizzo del nastro magnetico come strumento. Arturo Ruiz del Pozo ha composto ognuna delle tracce in guisa di pattern indipendenti, differenti per caratteristiche auditive, timbri ed estensioni dei suoni, peculiarità che sembrano caratteristiche per ognuno degli strumenti nativi utilizzati, alternando in successione sequenze maggiormente melodiche e armoniche, ambientazioni space e trame organiche, suoni più rarefatti e un approccio free form. La prima edizione di Composition Nativa è stata pubblicata su cassette nel 1984 mentre nell’edizione attuale vedono la luce anche due bonus track comprensive di sette elaborazioni concrete music.
Arturo Ruiz Del Pozo – Despegue
