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.
What is there in common between our current obsession with data (as pertaining to the debates surrounding privacy and social media) and the fetishism for vinyl expressed in record collecting? The idea that an immaterial process can be stockpiled carries captivating if not deceitful promises. Bringing a light reflection on the topic, Brian House presents us with a surprisingly well-orchestrated combination of data sonification and algorithmic composition cut onto a slickly designed vinyl record. In Quotidian Record he puts a psychogeographic spin on the timeless idea of listening to the evolutions of the calendar year as music. A few decades ago Italian computer music pioneer Enore Zaffiri confronted this notion with his one year long composition Musica Per Un Anno. Brian House considers the passing of time from a more subjective perspective, using his own locational data recorded over the course of one year with his phone as seeds for his composition. Sonifying the tracked GPS data through a series of processes modeled over traditional musical parameters, he turned his daily routines into melodic and harmonic patterns. The algorithm he coded maps locations so that the most frequently visited places are attributed with consonant chords, with dissonant variations being provided by alterations to his routine. This sonification process manages to effectively transpose the raw data into the domain of musical language in a transparent way that preserves the original nature of the data and its intelligibility as such. This transparency is also reflected visually on the vinyl, on which each day is recorded as one rotation, bringing the total of 365 days to a duration of 11 minutes. Matteo Marangoni
Quotidian Record – Listening To The Calendar Year
Quotidian Record (ExcerptX)
