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.
Increasingly blurred the boundary between material objects and information assets resides more in the interpretations induced by our brain. The distance, especially by entities external to us is often questioned, with a localization effort that transcends the coordinates to which we refer usually. Our senses then have to reckon with new input that seek time to time to integrate the usual information in a space enriched and not entirely unveiled. Based on these assumptions was inaugurated on May 14 Dispersed Moments of Concentration. Urban Spaces and Digital all'Hartware MedienKustVerein of Dortmund, shows that happily succeeds in documenting the interweaving of urban land with the information that penetrate invisibly. Curated by Inke Arns, the exhibition consists of works: 'GPS, wall painting' and 'Code International Sol / Air No. 14 ("Besoin armes et munitions")' Renaud Auguste-Dormeuil, the first consisting of a colorful graphic that you out to be the pattern of tracking the GPS system and the second a signal abstract painting on some roofs that, in the code of the helicopter pilots means: 'We need weapons and ammunition', 'Auto-Park / Highway-Parks in Istanbul' of Osman Bozkurt, a documentary on the use of large-sparti traffic grass of the main roads inside the Turkish capital by some segments of the population that uses them as public parks, 'Deltaville' of Büro für Bildangelegenheiten, already presented at the Stuttgarter Filmwinter , in which there has been a vacuum urban area, populated by computer codes in place of the people, 'Tokyo-Station' by Christoph Keller, pictures in which a patented system allows you to perceive the time, 'LUUKKAANKANGAS' Dariusz Krzeczek, a video obtained by mounting the filming of webcams pointed on the motorway network Dutch, 'Fringes of Utopia' Bettina Lockemann, great photos urban evolution in the American west coast, 'Pole' by Nicolas Moulin, images of urban structures from unusual perspectives, and even these constantly empty by human presence, 'der Stadt' Elisabeth Neudörfl, a sequential loop and constant images of urban land in a scrollable cd-rom, the interesting video 'The Catalogue' Chris Oakley, this latest edition of Transmediale , 'Paris' and 'Stuttgart' by Daniel Pflumm, images and articles in which logos and images prepared for advertising purposes are de-contextualized and isolated from the texts and their context in a new abstraction, 'From my window 1978-1999' Józef Robakowski, documentation of years of shooting from the window of the evolution of this artist who says of his inner territory and 'Teilchentheorie' Heidi Specker, images retouched functional architecture with digital techniques in unexpected ways.
