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.
. Art 
10/04/02 Digital Show Reception, digital art in Iowa City.
Inaugurated on April 10 April at the University of Iowa Museum of Art in Iowa City (USA) on Digital Show Reception , within the Thaw festival of video, film and new media. For the first time the event has its own section 'digital' with works from different media. The web art selected includes' Finger Lickin 'Chick', Juliet Martin that allows you to assemble a book choosing the characters and the story and then download and print on their own, 'Instant Future' of the same Martin (see Instant Future, net art literary (3) ), 'Identity of Color' of Agricola de Cologne, a flash video based on his eponymous poem and 'Transience, an atonal composition' of the same De Cologne, temporary arrangements with the eroticism taken as the basis for the struggles daily. Several also the cd-rom: '# FFFFFF' Art Jones, a collage on reception aesthetics of pixels, 'American Sock' Joey Bargsten a low-tech videos populated by puppets Dadaists, 'Bad Mind Time' of the same Bargsten nineteen interactive pieces to apply therapies elettroconvulsive virtual 'Picturing Time' by Jeremy Chien (pictured), an experimental analysis on the photograph and its sequence that creates the movement, framed within an urban reality, 'Untitled (for Francis Hines) 'Kenneth Feinstein, inspired by the sculptures of Hines' Therapeutic Space' by Natalie Zimmermann, audio tracks in which psychotherapists describe their physical workspace. Finally a couple of dvd 'Mappemundi' Sue Hettmansperger and Lawrence Fritts, maps, interdisciplinary, and 'Media Deconstruction Kit' by Randall Parker, a single real-time stream of theory and practice of corporate control of the media. The picture is completed three installations audio: 'Automata' Liz Fiorentino, an 'automatic musical instrument' with eight speakers that emit each a specific type of sounds, 'Interpretive Cilmates' Andrew Auten, with different vocal interpretations of texts be listened to by the functions of another musical instrument and '8: 45 'Steve Bradley and Timothy Noe a collective performance audio streaming on the tragic events of September 11.
