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 – Room40
Under the moniker Amby Downs, Tahlia Palmer presents Ngunmal and I Am Holding My Breath on Lawrence English’s Room40 label. The two compositions last almost 29 and 21 minutes respectively, and were designed both by virtue of this release and in the form of two specific audio-visual installations. The Australian multidisciplinary artist works with ambient drones built upon field recordings, and consequently is in tune with the label head, himself a composer and philosopher of listening who is fascinated by themes of memory, relationships, and spaces of physical and cultural interactions. In both cases, it is a question of imagining, perhaps even re-imagining, what are the possible stories that take shape in certain environments, and cultivating those stories to allow a congruous form of integration between the different parts. ‘Amby Downs asks us,’ says English, ‘to make ourselves available.’ ‘She asks us to be vulnerable to places and situations of not knowing, to be uncertain, to be unstable.’ The result is powerful, as are the videos that form part of the installation, splendid testimonies of Australian nature and its animal life, of fences and uninhabitable (or almost) places, of clouds and desolate territories, of places for wild dogs but not without their own strength and beauty. All of this comes with disturbing and melancholy moments. The dominant impression is that of something extremely material but incomplete, intricate in its restrictions yet intimate, just as that which pushes us to recognise within ourselves the way we live Regarding her musical project, Tahlia Palmer has a lot to say on the concept of decolonisation, while keeping the connection with her local community very close to her heart, exploring history, identity and connection with places – all cemented by layers of distorted noise, cavernous reverbs and field recordings.
Amby Downs – Ngunmal
