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.
The code as programming language or description of processes, is increasingly at the center of the analysis of theoretical and new media artists, for its ability to implement ideas and unpredictable change social contexts creating tools otherwise very difficult to achieve. Ars Electronica this year dedicated to its own code to the central themes in the usual deployment of forces that characterizes the most popular festival of electronic art. To describe the uses and creative manipulation of the code there are, among others Florian Cramer, Alexei Shulgin, Christa Sommerer and Laurent Mignonneau, Ben Fry, Golan Levin, Pierre Levy, Howard Rheingold (interviewed on Neural 20), John Maeda, Christiane Paul, Leah (center page in Neural 20), Casey Reas, Roman Verostko , Steve Sacks and Erkki Huhtamo. The texts of their speeches in the catalog have already been made public anonymously for a few days . In addition to the prizes already announced some time , the program provides Pixelspaces, a conference on interactivity performing in dance and theater, and various performances, including 'Messa di Voce', with the interaction between vocal expressions and graphics that come alive as a result, 'Principle of Indeterminism' with the extraordinary composer Iannis Xenakis who presents his simple creations in computer graphics that follow the musical and 'Pol-Mechatronic Performance' with the body and the prosthesis Marcel.li. Among the projects on display, however, it should be noted CODeDOCII the Whitney Museum where there are Italians EPIDEMIC and Jaromil Audiopad , Proce55ing , Responsive Portrait , nybble-engine-Toolz and Block Jam . As always there are installations at the Ars Electronica Centre and at the OK Centrum, the review of the Electronic Thatre computer graphics, as well all'Electrolobby and unofficial meetings. Among the various presentations also to MagNet, the network of journals of new media culture which is part Neural.
