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.
Il newyorchese Yoshi Sodeoka arriva alla realizzazione del suo primo ‘prodotto’ fisico, dopo gli ultimi anni di prolifiche sperimentazioni visive, come quelle di ASCII Rock, rielaborando in caratteri ascii videoclip d’annata, e di Casket, software per interfacciare →
L’aspetto dell’hardware ha una componente fortemente simbolica nella rappresentazione dei suoi contenuti, e i costruttori di macchine e riproduttori sonori l’hanno capito da tempo. Reinterpretando quest’assioma gli artisti Mark Argo e Ahmi Wolf hanno creato Bass-Station, →
Audiogame è una raccolta di esperimenti di rappresentazione interattiva del suono, realizzati in flash dal francese marc Em, da metà 2002 fino ad oggi. Sono idee realizzate in codice leggero, chevisualizzano squisitamente sequencing, scratching e composizione →
Il bastard pop, o mesh-up o pop plagiarista che dir si voglia, ossia l’arte di remixare liberamente più brani celeberrimi coperti da copyright, conta sempre più adepti e hobbisti che neapplicano le →
‘RLA’, ossia Recent Live Archive, raccoglie le fatiche dal vivo dei Farmers Manual e di alcuni artisti del loro giro, dal 1995 al maggio 2003, in una cronologia composta da più di 72 ore di file audio →
Yoshi Sodeoka, con la sua sigla c404, è fra gli artisti che a margine del grande circo di manifestazioni dedicate all’arte elettronica porta avanti le sue sperimentazioni periodiche, dotate di uno stile particolarissmo e riconoscibile. #41, →
Atmospherics/Weather Works è una performance, un’installazione e un progetto di software distribuito per sonorizzazione delle tempeste atmosferiche e degli eventi metereologici. I suoni sono generati direttamente dai dati originali del fenomeno in unasimulazione dettagliata e fisicamente →
La conversione di immagini in suoni rappresenta una frontiera teorica liquida e difficilmente limitabile ad una semplice associazione per somiglianze. Nel settore della composizione di suoni attraverso l’uso di software che elabori le immagini, si è →
In largo anticipo sulle orchestrazioni dei [The User] e della loro sinfonia per stampanti ad aghi, c’era chi nell’ormai lontano 1970 riusciva a far scaturire melodie da una rumorosa stampante. Si tratta dell’IBM 1403 →
by Alessandro Ludovico
‘Digital with human touch’, this is often a synthetic description of your music. Do you think we’re getting used by interfacing ourselves with machines in a more and more symbiotic relationship, or →
