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.
book + cd-rom – Christoph Merian Verlag – ISBN 3856162380
After more than a decade of artistic practices tied to new media, the digital and media art world is still confined within its bounds and has →
The sampling can also be understood as a memory retrieval, and hip hop has undoubtedly had the merit of having used it extensively to revive unacknowledged records found on vinyl on duty, putting →
The design, understood as artistic production process, has evolved its own techniques constantly, transforming both thanks to the possibility that new tools have realized, for both theoretical deviations that these have stimulated. The computer, →
The projects serial in which information passes from hand to hand by modifying the way, until you reach a final stage and final, or documentation of his project of transformation, are a property of the artists →
The relationship between sound and vision took on a clearer since both can be interpreted as sets of binary data. In their numerical abstraction these sets are identical in →
The language of the video has undergone various semiotic jerks in the nineties, years that saw the opportunity to swoop in personal computers home video editing. The resulting geometric increase of the trials and the parallel →
The evocative power of sound, tends to lose this peculiarity when it accompanies the images, which by themselves are likely to drown the imagination of the viewer. To prove the opposite are artists such as Tilia →
The resistance to the culture of surveillance and control begins, with its urgency of interpretation and contrast, to permeate areas of expression other than purely political. Broken Channel, commissioned since the last edition of the →
Leaving behind the usual forms of digital elaboration (pixels, interfaces and sharp lines/sounds) is a necessary step towards a new stage of audiovisual electronic productions, now technically possible and culturally desirable. The aesthetic of digital, in →
The tenth release by the portuguese label Crónica closes the first phase of its excellent productive path. Since the first release, Hard Disk, the spirit of experimenting with the parameters of discographic products has always been →
