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.
DIY, English, 164 pages, 2014, The Netherlands
Nel primo decennio dell’internet commerciale, l’ecologia delle informazioni è stata di dimensioni ancora immaginabili, poi a causa della crescita naturale, dell’influenza dei giganti online e dei social media, tutto è decisamente cambiato, con la creazione di una quantità fuori controllo di dati disponibili. I social media – in particolare – sono in grado di proliferare indefinitamente. Questo enorme sistema di produzione delle informazioni ha anche parti generate da software e sistemi, che sono diventati, come osserva la Petrychenko nella sua introduzione, una pratica sociale denominata “data pollution” (inquinamento dei dati). Tra le diverse piattaforme, Twitter – con il suo coraggioso mantenimento di un formato a 144 caratteri – è perfettamente predisposta per funzionare come una piattaforma per la letteratura automatica di vario genere, includendo anche lo specifico fenomeno dei bot software. Si tratta fondamentalmente di uno studio sui “Twitter bot”, i cui componenti essenziali sono: una strategia e (opzionalmente) un database di riferimento. È una collezione intrigante di processi codificati dagli esseri umani che utilizzano a volte semplici algoritmi di dati: in alcune occasioni sono divertenti e talvolta implementano idee ispiratrici. Questo ecosistema di solito inosservato di creature di linguaggio è nutrito da software (che fanno il lavoro meno visibile), spesso riallacciandosi a concetti e alla cultura bot-related. L’autrice tenta di stabilire una tassonomia bot nella prima parte e nella seconda stampa un archivio di diffusione in un solo giorno di produzione di bot per oltre un centinaio di pagine, misurando in maniera tangibile il risultato invisibile dei “processual writers”.
