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.
Semiotext(e), ISBN-13: 978-1584350859, March 31, 2010, English
After “Art and Revolution”, Gerald Raunig has written a different book elaborating on a concept formulated by Gilles Deleuze and Félix Guattari about the machine, seen not as technical apparatus, but as a social composition. The reference is quite evident in the title (“A Thousand Machines”), but it’s only the starting point. Although close to “Art and Revolution”, with which it shares some material, “A Thousand Machines” is about the “machinic” and it can be configured among social subjects. In fact Raunig forms his idea of machinery as the emergence of a collective human intellect, different from Levy’s “collective intelligence” and closer to what Karl Marx defined as “General Intellect.” The book starts with an account of a quintessential machine: the bicycle. It’s amazing how, working through different representations of the bicycle, it turns out to be a good example of the machine described by Deleuze and Guattari. It’s a machine that makes sense only when it’s coupled with a human body, changing its inert state. And the human state changes too, becoming something that would have been impossible without a bicycle: a cyclist. The connection with Art and Revolution is evident when Raunig analyzes the role of machines in theater (focusing on Eisenstein and Tretyakov’s theatrical work) and connects it with the insurrectionist Viennese PublixTheatre Caravan. The chances of a machinic insurrection held by the precariat, are then strictly connected to the understanding of capitalism as another machine, finally to be reverse-engineered.
