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 genesis of “Simulen“, a work by Congolese artist Jean Katambayi Mukendi exhibited at Pixelache 2011 festival in Helsinki, is very delicate. From the functional point of view it is a prototype for the automatic correction of electricity distribution trouble. The spark that triggered its creation is the absolute anarchy of the electrical infrastructure of the city where the artist lives, Lumbumbashi in Congo, which often experiences an annoyingly intermittent power system. Beyond any doubt this situation is a legacy of the chaotic and unregulated growth of the city’s infrastructure, but the object of the artist’s reflection is independent from the political denunciation. The problem is that people are exasperated by the constant brownouts and terminations of service and they often manually tamper with the electrical wires, sometimes causing more short circuits, overloading and dangerous tangles of wires. Simulen, instead, is impeccable in its appearance. Revealing the technologies inside, the device’s shell is made entirely of paper and reassuring paperboard cubes, tinted with soothing pastel colors. Its slender frame is similar to the polychromatic ancient totems, and the knobs and the buttons are typical of a robot. Always exhibited with Simulen are some precious drawings that illustrate the inner workings with a remarkable attention to detail, and they are so clear and well-made that they become an integral part of the work. This project, without being didactic, shows how artists can help the members of their communities, using very lo-fi but brilliant technology.
Chiara Ciociola
