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.
It is held at the University of Toronto, the sixth edition (after those of 2001 and 2002 ) of Subtle Technologies , the international festival that seek to blur the boundary between art and science by bringing together artists and theorists. This year's symposium is scheduled main 'Cyborg DECONtact', a debate with Simon Penny, Derrick de Kerckhove, Arthur Kroker and Steve Mann, and a performance of the German group Palindrome, among the forerunners of the integration of interactive technologies and programming sensors within contemporary dance performances, which will present the control of body movements through an environment composed of video projections, music and lights. Among the presentations, however, Brooke Singer and Beatriz da Costa with their project 'Swipe' that reveals what data contains the magnetic strip of the license American,'' the Interactive Performance Laboratory 'in a former quarry coal Johannes Birringer,' Risky Surveillance: Distributed and Multiple Identity (ies) as Resistance 'by Nancy Nisbet, outlining techniques to resist the monitoring of microchip type Radio Frequency Identification (RFID) and three-dimensional pattern of The Art of Time of Strange Attractors by Robert Krawczyk . Finally two installations: 'Wind Array Cascade Machine: Pod' Steve Heimbecker, a set of 64 motion sensors placed on the roof of the Méduse Artists' Co-operative in Quebec City, with 64 corresponding light sculptures all'InterAccess Electronic Media Arts Centre Toronto, representing real-time wind conditions in remote place, and 'Bedlam Telekinesis' Bill Vorn and Simon Penny, however, converts the movements of the patrons in an art gallery in the behavior of a vaguely anthropomorphic robot.
