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.
Uniformbooks, ISBN-13: 978-1910010150, English, 112 pages, 2017, UK
Per comprendere l’essenza di questo libro è importante capire in quale modo è stato scritto: è la versione stampata di un’opera d’arte della letteratura digitale. Il testo è composto da estratti del classico saggio “Modification of Clouds” di Luke Howard (1803) mescolati con ritagli di articoli online e libri sui media e l’ambiente, abbinati in versi endecasillabi ipertestuali. Si può decisamente definire una “scrittura performativa”, specialmente perché nella versione online le animazioni grafiche sono insieme al testo e alle sue estensioni ipertestuali, nelle stampa su carta sono rese come stampe statiche e con parole collegate in grigio. Il registro dell’autore mescola saggiamente i termini e i loro significati differenti e i domini a cui appartengono sia letteralmente che graficamente. Così le nuvole sono interpretate come oggetti poetici, scientifici e tecnologici, andando oltre la loro rappresentazione e percezione di oltre un paio di secoli. C’è una presenza costante di animali, che simbolicamente basa l’intera opera nel mondo organico. Attingendo dalla storia della meteorologia, il mix di elementi ininterrotto, rende in modo diversificato e illuminato la metafora delle reti di computer “cloud” e il commento dell’autore sul cambiamento climatico. La sequenza metrica di fatti, note, osservazioni e commenti mantiene intatto lo spirito poetico mentre racconta la storia attuale. Con una profonda prefazione di Jussi Parikka, questo libro rappresenta una sorta di ibrido gratificante per la scrittura e concetti che ci aspetteremmo molto più spesso nell’era contemporanea.
