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.
The rapid and continuous changes of colored light integrated into each telecast stress to our visual perception costuiscono a light source continues. This keeps stress of the retina, to which we are accustomed in part, →
'Canning the immaterial' is what they try miserably to do the record companies via the copy protections of music released on physical media. This invisible barbed wire (hear, but do not touch), is stigmatized →
Much of the appeal, which is still intact, to be credited to your turntable to the medium used, ie the physical disk and its manipulability. The correspondence visual and material that binds the visible features →
One of the decisive factors for certain is that anthropomorphic robotic mechanisms, ie as the automatic machine reflect human characteristics credible. This also applies to those automata that do not have a shape similar to →
The interface of the electronic musical instruments, has always been a problem of language, that abilitasse the musical dialogue man-machine in order to make satisfactory interaction and the results produced. The conceptual problems that from →
The area in which you enjoy the sounds is often crucial to our environment and consequent judgment. The territory and its rules apparently unconsciously discounted guide us through the paths of movement through coordinated sound. →
A 'scene' music has always been marked by a particular aesthetic, as well as characteristic sounds and moods equally recognizable. The respective groups were then formed tip shining examples of synthesis of these coordinates, →
The usability of sound installations often based on the immediacy generated by the use of sensors that create a meaningful link between movements / actions of the user and the speech scheduled artist. Instead, use →
How could play the square that crosses every day? This is one of the typical questions posed by the sound artists fascinated by urban spaces, developing different solutions of sounds that populate →
The mobility of mobile not only has slowly become addicted to environmental noise, attributable only to a public telephone before the advent of cell phones, but it has also altered our perspective as a result of →
