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.
The importance (and the possible fallibility) of the statistical analysis of data shows more and more intense use of the database, such as tools to create the sense of the frequency or the association of the data. The evidence comes from the numbers often mixes different domains of knowledge, highlighting unusual associations, which, if it were not for the statistical evidence, go unnoticed. An experiment systematic and original music creation induced by the data was accomplished by Loren Jan Wilson, on the occasion of his thesis. Pitchformula , in fact, is a project that uses an analysis of verbal behavior on the thousands of reviews on this site of Pitchfork, ricnosciuto archive of music reviews. The recurrence of the terms in the reviews themselves in a positive sense or negative, statistically established together with the liking of certain kinds or certain characteristics of the albums have together formed a 'weighted' guidelines, or general indications resulting from the collective judgment and protracted time of the various critics. The same lines were then applied by the author to the composition of a couple of songs accessible online. The results are not at all 'aseptic', indeed imitate a taste 'pop', albeit with limits on the composition of the author, who seems to be a sort of Spartan quintessence of contemporary rock productions. The author has ironically summarized his argument in terms of 'music critics as creative tool', but, as he himself declares in the FAQ to the contrary, it is inevitable tend to devalue the work of those who wrote those reviews as 'summa' end of a single dominant thought. To smile thinking of the possible results of such a tool applied to reviews of Rolling Stone as well as many magazines pseudo-independent …
