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 – Chmafu Nocords
La metafora virale ha segnato la storia dell’arte e della musica elettronica contemporanea forse più d’ogni altro concetto abbia fatto capolino a queste latitudini negli ultimi cinquanta anni, fin dalle seminali visioni di William S. Burroughs, poi popolarizzate da Laurie Anderson – in “Language is a Virus” – ma anche presenti in svariate altre narrazioni (si pensi ad esempio alla letteratura cyberpunk o alle teorizzazioni memetiche sull’evoluzione culturale per entità consistenti e replicabili). Elisabeth Schimana ha lavorato come compositrice, performer e radio-artist fin dal 1983, ha studiato elettroacustica e musica sperimentale presso l’Università di Musica e Spettacolo di Vienna, composizione per computer music allo IEM di Graz e musicologia ed etnologia presso l’Università di Vienna. Il suo approccio in quest’opera sembra più di tipo improvvisativo, improntato alla manipolazione sonora, alle tecniche di sintesi e all’iterazione free form. La stessa serie è ispirata a ellittiche percezioni acustiche, corpi risonanti e spazi, livelli di superfici e molteplici iterazioni fra i soggetti in gioco. Dice Elisabeth Schimana: “non c’è alcun brano musicale, siamo noi il brano”, intendendo come il suono diventi informazione, trasformata in movimento e attraverso gli strumenti ritorni alla musica. “Un virus biologico distrugge l’ospite invadendolo. Un virus musicale crea qualcosa di nuovo da questa esperienza di sentire “. Riverberi ovattati, palpitanti, percussioni meno docili, inviluppi elettronici, il suono di un oboe e di un clarinetto, gong e imprevedibili connessioni. Elisabeth Schimana è a suo agio nel condurre la composizione lasciando al contempo i musicisti liberi d’esprimersi e relazionarsi fra loro: il virus aziona molte frequenze di mutazioni e una tensione permanente rimane in bilico segnando in maniera splendida i differenti stati emozionali prodotti dai suoni.
Elisabeth Schimana – Virus #3
