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.
Source is the part (in advance) dedicated to the new media of the Image Festival (IF) of Toronto, which opens in April. Fourteen installations told in the site according to a kind of 'behind the scenes' that the curators assimilate to the 'source code' of the same, and are displocate in many galleries in the city. The variety of the issues, however, does not disperse the red wire critical use of the media or the techniques used, the visual loop sensors, from surveillance cameras to television news. In detail, the installations include: the interchangeability of the context in 'And So Departed (Again)' in which five directors have directed the same scene in which the artist / actress Judy Radul dies, the structured interaction between artists and audiences' Artist -Astronaut 'by Debra Solomon, microcontrollers that respond to different types of breath, larded with organic parts (fabrics, blisters containing blood) Sabrina Raaf in' Breath I: Pleasure ', the 12-second loop of the aggressive and inevitable separation between mother and son in 'Byte' Lyla Rye, environmental interactions by Stéphane Gilot in 'Genetic Transformation Unit for the Colonization of Mars', the narrative overlap in movie-making taken from surveillance cameras and maps in prisons' I Thought I Was Seeing Convicts' Harun Farocki, personal narrative and flip-movies (respectively blog and rollover before its time) in My 'Best Friends Ever and My One True Loves' Brett Simon, the TV news algorithmically simulated by' Network 'of Siebren Versteeg, the rules of social space in 'The Rules of the Game' by Gustavo Artigas, the occult in social interaction through technologies FASTW † RMS 'Shagbat', the software psychogeographical Wilfried Hou Je Bek in 'Social Fiction ', the singers recruited by newspaper ads Althea Thauberger in' Songstress', racism mechanical forms of surveillance denounced by David Rokeby in 'Sorting Daemon' and the parallel realities of the mini-collective 'Push Play'.
