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.
3“ CDR – 1000füssler
Pubblica la 1000füssler un interessante 3“ CDR abstract-experimental che si deve alla maestria di Yan Jun, artista di base a Beijing coinvolto a più livelli e in differenti ambiti dell’elettronica contemporanea, dall’improvvisazione alla ricerca site-specific, dalle field recording al noise, collaboratore di The Wire e un punto di riferimento per qualsivoglia “audio-abuso” di provenienza cinese. Yan Jun è avvezzo ad utilizzare sistemi di feedback instabile, tecniche che modula in diverse opzioni, passando da trattamenti molto silenziosi e delicati a performance più urticanti e oltranziste. On 3 Pipes, composizione divisa in due tracce, rispettivamente di 8’12” e 14’21”, appartiene alla prima tipologia di sperimentazioni, quelle più sensibili ma ancora vivide, registrazioni generate usando microfoni a contatto posizionati su condutture d’acqua (due nella prima traccia, una nella seconda). Entrambe le catture auditive sono state pesantemente modificate durante il processo di masterizzazione e i materiali originali contengono forti rumori provenienti dalle attrezzature di registrazione, in particolare il canale destro della traccia 1. Yan Jun, che ultimamente sta inserendo anche elementi performativi nelle sue sperimentazioni, ci ha recentemente edotto tramite alcuni suoi articoli su quanto la scena cinese sia attualmente ricca di spunti ma anche funestata da una censura oramai incomprensibile. Il passaggio da forme musicali tradizionali – legate al folk e alla musica etnica – a più contemporanee evoluzioni, sembra avere a che fare a quelle latitudini anche con un problema di libertà e condivisione d’esperienze culturali, seppure nell’eterno ritorno di un genoma sonoro autoctono non possiamo fare a meno di constatare come certi elementi primigeni ritornino, come in una sorta di macchina del tempo, parlandoci più del carattere e delle consuetudini percettive di luoghi e regioni, travalicando generi stilistici, accademie e approcci: perché anche nella contemporaneità più tendenziosa si nasconde sempre qualcosa di molto ancestrale.
1000fussler | Yan Jun – Music 1 Excerpt
1000fussler | Yan Jun – Music 2 Excerpt
