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, ISBN-13: 978-0262036498, English, 264 pages, 2017, USA
L’artista iconoclasta Fred Forest è stato riconosciuto solo di recente per la sua attività artistica di nicchia negli ultimi sessant’anni. Artista con un approccio moderno ai media, e con una posizione critica controversa, ha utilizzato le strutture istituzionali attraverso una varietà di strategie critiche, destabilizzanti e intelligenti. Forest è sato un sabotatore del sistema dell’arte, dall’intervento non richiesto e rischiosissimo alla Biennale di San Paolo durante la dittatura militare del 1975, fino a citare in giudizio il Centro parigino Pompidou nel 1994 per la sua politica poco chiara di acquisizioni artistiche. Ma ancora di più è stato un primo fruitore e ricercatore di video portatili, sistemi telefonici e reti televisive, utilizzandoli per opere d’arte critiche. Unendosi al teorico italiano Mario Costa nel definire l’estetica della comunicazione all’inizio degli anni Ottanta, nel 1985 hanno scritto un manifesto che sembra predire ciò che accadrà nei prossimi vent’anni: “L’estetica della comunicazione spinge ulteriormente le implicazioni psico-fisiologiche delle innovazioni tecnologiche, elaborando la loro concomitante modifica dei nostri concetti di Spazio e Tempo”. Dall’acquisto di spazi sui giornali Le Monde per consentire la partecipazione e l’espressione dei lettori, alla gestione di una campagna pubblica ufficiale per la presidenza della televisione nazionale bulgara, Forest ha ampliato la sua pratica attraverso le tecnologie più diverse, producendo un corpus sostanziale di lavoro con uno spirito di guerriglia culturale, cercando il proprio slancio, ma mettendo in discussione in modo giocoso e profondo lo status quo.
