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.
Opened on 29 August at the Künstlerhaus in Vienna, Abstraction Now is an exhibition of media art that includes video, installation and a review online on the web is carefully abstract art, capable of changing formulas and codes in audiovisual sequences non-figurative and aesthetically very interesting . The emphasis was, in fact, on the specific programming and consequent generation of artifacts that abstract forms and their intersection in a synchronous motion and fluid, with minimal user interactivity. The algortmi are the basis of these works as the calculations on space and on the proportions they were in constructivism, but building here dimensions that live only in a temporary memory displayed by the pixels of the screen. The projects included include, endless forms and optical Yugop, the lines that replicate texture in the initial part of Golan Levin, animations to control cursor InsertSilence, animations geometric-Luining sound of Peter, as well as those of Return, hiking in the color palette Jan Robert Leegte, the generation of finite symbols Norm, the tentacled creature made of lines Manny Tan, color spaces generated by Julian Sanderson, the endless architectural lines of Glen Murphy, structures woven from Reas lines, chaos pseudo-ordered Dextro, the 3D shapes and lights of Meta, the malleable force fields of Ed Burtonfdsfd, the fluid animation in black and white by James Tindall, [N: JA] and Juerg Lehni, the nodal intersections of Marius Watz, embroidery Abstract Lia, conversions images / lines to the subject of Mark Napier, the combinations of loop Nullpointer and error staged by Jodi.
