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.
CD – Touch
Heitor Alvelos boasts an unconventional artistic background. A long-term collaborator with Touch, he has also designed and implemented stage visuals for Biosphere, Fennesz, BJNilsen, Rafael Toral and Philip Jeck, as well as producing sounds under the various monikers of Autodigest, Antifluffy and Before Surgery. Since 2008 Alvelos has also been the curator of FuturePlaces Media Lab for Citizenship. Faith, the first full length release conjured up by the eclectic artist, is in the same vain as many of his previous works; fascinating narratives, a wide cultural context and a comforting coherence. The cavernous sounds that unravel through the 12 sections of this album feel very organic and analogue. Irregular field recordings and drone-based music form a conceptually rigorous and powerful continuum. There is emphasis on low frequencies that evoke and spectral and ghostly landscape – the result of abstract audio captures the artist has collected since the early seventies. The processed elements are very sparse, grumbling and buzzing with modulated static and minimal variations. The charm of the work thus resides in the disparate sound sources, artfully undisclosed. The juxtapositions are well-calibrated and harmonically very engaging. Alvelos presents organized environments that are not always comfortable refuges for the listener. Indifference seems impossible with this highly evocative and abstract record and there is something operatic about the fervency of its richly pulsing drones.
Heitor Alvelos – Errant [Touch]
