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.
The MIT Press / Whitechapel, ISBN-13: 978-0262529341, English, 240 pages, 2016, UK
Qual è la principale differenza tra un curatore e un editore? Apparentemente una certa discrepanza è in gran parte dovuta ai mezzi che questi professionisti utilizzano (la scatola bianca contro la pagina bianca), e – per quanto possibile – ciò è in relazione all’organizzazione delle specifiche conoscenze in tali distintivi spazi. Sarah Cook non è soltanto una curatrice, bensì anche una profonda studiosa degli ambiti conoscitivi legati al digitale e alle sue pratiche. Di conseguenza è facile immaginare come in Information Cook utilizzi un “approccio curatoriale”, correlato al processo di modifica nella selezione e organizzazione di un’antologia di testi. Le cinque sezioni sono organizzate attorno a tutto il ciclo di vita delle informazioni e sono destinate ad essere “un sondaggio d’arte oltre la teoria dell’informazione”. Sono inclusi testi su artisti e/o forme artistiche, che comprendono pratiche d’avanguardia in voga dal 1960 ad oggi. Tali sperimentazioni sono tratte da un eclettico mix di formati che vanno dai comunicati stampa alle interviste, comprese le dichiarazioni di curatori e artisti. Si tratta di una selezione molto ricca e coerente, in cui concetti come segnali e significanti, insieme con la quantità e la qualità delle informazioni, vengono affrontati attraverso lenti specifiche, rendendo più credibile il coinvolgimento rispetto a quanto solitamente accade con dei testi teorici. Tutti questi focus, seppure ben collegati tra loro, sono anche ampliati nell’introduzione del libro, con le citazioni e altrettante opere non necessariamente incluse nei testi. Come l’autrice afferma “l’informazione non è la cosa, ma piuttosto il processo della sua stessa manifestazione”. Tali procedimenti,quindi, sembrano essere perfettamente legittimati..
