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.
Archive Books, ISBN-13: 978-3943620344, English, 288 pages, 2015, Germany
Questo è il catalogo della mostra “Eran Schaerf. FM-Scenario: Reality Race”, una documentazione composita del lavoro dell’artista. Schaerf ha prodotto notiziari radiofonici d’artisti a partire dal 1997 e dal 2002 ha ideato una stazione radio fittizia (The Listener’s Voice), vale a dire condotta da un programma per computer e con una controversa programmazione focalizzata su temi quali il comportamento e la privacy. Il “telegiornale” diventa la forma che l’artista abbraccia e sulle pagine stampate ci sono testi, molte performance, fotografie (di solito in scena davanti alle telecamere, piuttosto che del pubblico) a rafforzare visivamente la narrazione delle diverse storie, oltre a tutta un’iconografia relativa ai vari argomenti. Questa iconografia serve a rafforzare la performance – che mostra in qualche modo gesti di scena, documentando le nostre diverse percezioni della realtà. Come in un blog Tumblr, attraversando lo spazio e il tempo, la consistenza visiva della pubblicazione – seguendo una stringente unità visivo/concettuale – è tenuta assieme dal flusso audio infinito, che non può essere reso su carta, esattamente come il flusso che descrive la “realtà” radio. L’ambiguità e tutte le manifestazioni dei media che l’artista crea appartengono alle notizie e ai loro annunci, grazie proprio a una grammatica invisibile e a un tono appropriato. L’audio, disponibile sulla piattaforma web fm-scenario.net risuona in maniere differenti, evocando in maniera potente l’ambiente di broadcasting e il software invisibile dietro esso, simboleggiando le regole di produzione solitamente nascoste e indicando i due inevitabili versanti nella comunicazione, l’emittente invisibile (con le sue molteplici identità possibili) e l’ascoltatore.
