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.
10” vinyl + 2CD + book – Sussidiaria
Tinnitus is normally described as a ringing in the ear, but it may also sound like a pronounced grumble or a clicking, hiss or roaring. Many famous musicians ((Pete Townshend, Ludwig Van Beethoven, Trent Reznor, Andy Partridge) and DJs too (Ed Rush, Optical, Roger Sanchez) suffered from this condition. Apparently, tinnitus is so annoying it negatively influences the quality of life of the people who suffer from it. However, rather than being considered a disease, it is seen as a special condition due to several reasons. Being a subjective condition, there are no scientific protocols which may objectively measure it. Music and show business have always maintained silence on this condition (it’s a disability which may prevent “perfect” listening), as tinnitus is incurable in its chronic form and on the basis of the current medical knowledge. No musician and performer would like to appear strongly “limited” in their own art perception. Manitù Rossi and Vittore Baroni, who have long suffered from tinnitus, have worked for five years on this triple concept album (a 10” vinyl and two CDs). Actually, the number of artistic collaborations is massive, having more than 50 artists involved (international musicians, groups and visual artists). The release, not without some irony, was presented as “an educational audio project”, shared by old and new friends (for example, the Italians Simon Balestrazzi, Gianluca Becuzzi, Eraldo Bernocchi, Teho Teardo, Økapi, or the foreigners Nigel Ayers, Gen Ken Montgomery, Neuropa, Rod Summers). The tracks are mostly inspired by the topic and their goal is to raise some understanding about this odd functional impairment. Some tracks are new versions of Forbici songs or instrumental tracks, developed as tracks to “disguise” this annoyance. Tinnitus Tales is an extraordinary outing, but at the same time it proves a practice shared by different sides of a whole community. It is a precious document, a record-making wonderfully arranged.
Le Forbici di Manitù & Friends – Tinnitus Tales
