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.
Strange Attractor Press, ISBN: 978-1907222207, English, 194 pages, 2012, USA
The EVP (Electronic Voice Phenomena) has been a must in experimental and underground audio scenes, terrifically combining the aura of the electronic medium (decoding radio and sound waves) with the esoteric recognition of “voices” coming from unknown places through the air. Exhibitions like “Awake Are Only The Spirits – On Ghosts and Their Media” (focused on Friedrich Jürgenson’s audiotape archive and developed by Hartware MedienKunstVerein) have given EVP new exposure and rekindled debate on the phenomena. Joe Banks, the author of this book, has released several albums of sounds of natural electrical and magnetic phenomena, under the moniker of Disinformation, but has always been close to EVP in a critical way. Here he inverts the usual focus on EVP, from the recordings and their supposed ‘voices’ to the aural perception (psychoacoustic) of the person who listens and interprets the sounds. The research is extensive but concise, going through all the major protagonists (from Thomas Alva Edison and Guglielmo Marconi to EH Gombrich, Jürgenson, the iconic Konstantins Raudive, and many more), using Rorschach visual theories as the fulcrum of his analysis, which is based on an informed ‘debunking’ approach. In fact, the relationship between mishearing with visual illusions and artistic creativity is explored in the last part of the book, with plenty of references and facts. ‘Rorschach Audio’, printed in small format, is an appealing and readable pocket compendium about a rare sonic subject. Alessandro Ludovico
