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 algorithmic composition one frequent problem that programmers are faced with is how to make computers less predictable. The clue to the matter is that there are infinitely more variables in the physical world than in virtual environments. Searching for an audiovisual implementation of this principle and tapping into the culture of hobby robotics, sound-art collective Gullibloon has created a system that uses line-following robots to play electric guitars. Their robots, baptized “The Army of Darkness”, are based on a design commonly employed for maze solving. Gullibloon has them running along lines laid out as race tracks on the floor of the installation space, with electric guitars placed face-down in several points, so that the robots can strum them as they drive by, producing what the artists define “algorithmic drone rock”. The steering mechanism they use can be traced back to Valentino Braitenberg’s “Vehicles. An experiment in synthetic psychology”. This seminal text describes how to create the impression of life and intelligence with simple sensor and actuator systems, postulating the principle of “uphill analysis and downhill synthesis” that is so popular in current generative art. While the algorithm employed to drive these simple reflex-agents is elementary (the source code downloadable from Gullibloon’s website is 60kb) embodying it in physical agents can lead to a wide and unpredictable range of results. Cage introduced indeterminacy to free music from the composers will and supplant the romantic idea of genius. “Never just strum. Put your mind to it when you play” was one of the rules given by Schumann to his students. But guitar drones require quite the opposite, and robots can be well suited for mindless activities.
Matteo Marangoni
