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.
In a media landscape that celebrates the losses only when they are spectacular, immediately after erasing the memory, the 'disappearance' of people and pieces of the world takes place in silence, out of the spotlight, or recovery by accident by an electronic eye amateur. On Disappearance. Loss of World; Escaping the World is the exhibition that will be launched on August 26 on these issues all'HMKV – Hartware MedienKunstVerein of Dortmund. Curated by Inke Arns and Ute Vorkoeper soundings at the bottom of the art of dissolving, between metaphor and reality. And so the money disappear to finish ocean-going vessels because of the war (Apsolutno) themselves in a house with shelters hairpieces (Renaud Auguste-Dormeuil), the beloved grandmother and her house (Maja Bajevic), the home of Unabomber removed FBI (Lutz Dammbeck), the miners on the island of Hashima exterminated by the inhuman conditions (Thomas Nordanstad), humans from a snow-covered road route (Thomas Köner) verbal pieces (Christine Lemke), the Soviet cosmonaut Vladimir Komarov while Michailovich disappeared from the Earth (Via Lewandowsky), hundreds of thousands of Cambodians murdered by Pol Pot regime (Alice Miceli) the invisible capital stock with the hope of brokers (Aernout Mik), the occupied territories and not to, respectively Israelis and Palestinians (Multiplicity), the world, thanks to appropriate drugs (Oliver Pietsch) Kazakh's cultures (Birgit Schlieps), the World Trade Center in Manhattan (Wolfgang Staehle), the precarious stability of the mind (Ubermorgen), the urban spaces of Berlin (Ina Wudtke). In this disturbing, memory contracted with the mind its spaces and the image that appears or witness something that appeared to be a time, in a mutual (and misleading) information exchange.
