Critical digital culture and media arts · Since 1993
The Neural Archive is a repository of publications collected by us during the years. Browse our collection here.
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.
Public places of burial represent mainly the memory of a community, the representation of the appearances that have historically constituted. They are the geniuses who built the living organism represented by the same community, alive and →
The programmability of electronic images allows to redefine any device able to transmit an image, including the most ancient and simple. Mirrors, for example, are among the most natural and intuitive, even with their characteristics of →
To represent the idea of violence in society and show symbolically that the use of a weapon can cause to the human body, the Dutch artist Joanneke Meester has reproduced 'Skin Gun', a gun, the size →
Time Slice is a research project focused on finding alternative ways of representing the relationship between image and time. The author, Daniel Crooks (New Zealand artist based in Melbourne), has developed a technique very personal thanks →
Is the medium used enough to define an artistic practice? That is, does it make sense to look for unifying characteristics in artistic expressions which share only the medium used? Probably not, but in the history →
The myth of ‘real time’ and of the supposed reliability of the transmission of information through the net are concepts made up by commercial propaganda and are reminiscent of the advertisements for the first TV sets →
Jared Tarbell of Albuquerque, New Mexico is a programmer who search and create visual art algorithms, collected in his Gallery of Computation . The site includes an image of the result generated generally (there are also →
Commissioned by Jacqueline Stevens and Natalie Bookchin Tate Online London, funded by the Foundation for Art, Science and Technology of Daniel Langlois, AgoraXChange is for the moment an online community that promises to discuss in a →
The 'cutting', ie the assembly of video sequences created for the first time due to a malfunction of the camera by George Méliès, formed in the course of time more and more the foundations of the →
The classified ad subculture, born first in free ad magazines, then in every other place, Internet included, is a medium on its own, which, in a few lines, tries to synthesize a message of request →
