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 – Raster
The eleven compositions on this album were ‘programmed, engineered and mastered by an algorithm’ and arranged by Atom™, one of the many pseudonyms of the celebrated German composer, musician and electronic music producer Uwe Schmidt. Artificial Intelligence is one of the most seductive technologies of the new millennium. It constantly surprises us, making us wonder if it’s really possible for AI to create projects such as this one and compels us to consider the implications of taking a vast range of cultural inputs and other forms of knowledge and reducing and reconfiguring them into impenetrable mathematical models. It’s not really relevant if in this type of work there is anything ‘human’ remaining, indeed with Neuer Mensch there is almost a sense of pride at how much of it is generative – an accompanying text with the album was also created by an algorithm named x1n. What is more significant is the hybridisation and proliferation of new creative techniques and practices. From this perspective, Atom™ doesn’t try to be an all-controlling artist but instead leaves space for randomness. He cultivates computational processes allowing them to run their course irrespective of misdirection or errors and in doing so, facilitates a metamorphosis between the organic and the synthetic, the mind and the machine. Although he may allow space for algorithmic expression, on Neuer Mensch, Uwe Schmidt leaves no room for pleasantries. Listeners who appreciate harsh, intense rhythms will definitely enjoy the electro feel of ‘Hartcode’, along with the abrasive sounds of ‘Rausch’, ‘Selbst’ and the title track. The rest of the album is at times less frenetic but no less dystopian, these are pulsating algorithmic sounds working together to create a cold beauty that pushes the concept of artificial intelligence to its limits. Overall, this is an album that is as overwhelming as it is unsettling and seductive.
Atom™ – Neuer Mensch
