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.
.emusic
21.01.03 L’oading, genetically modified videogames.
On January 17th, at the Galleria Civica d’Arte Contemporanea Montevergini in Syracuse, opens the exhibition ‘L’OADING, genetically modified videogames’, which gathers ten artists devoted to the creation, manipulation and reprogramming of videogames. Organized by Valentina Tanni, the exhibition offers a complete cross-section of the different approaches to the transformation of a videogame from its reductive role of simple amusement. The most common deconstruction is to use open softwares (Doom, Quake and so forth) as aesthetic engines for new journeys in the maze of the source code, which is fragmented and recomposed randomly. The graphical involutions of Retroyou can be interpreted in this way, just like the derailments caused by induced malfunctionings of Arcangel Costantini and the self-degenerations of Corby&Baily;. Another point of view, again aesthetic, is modifying the code in such a way as to preserve its iconographic system, only changing the usual rules of reality simulation, like the endless duplication of characters by Brody Condon or the innovative perspective simulation by Victor Liu See-le ‘Children of the Beureaucrats of the Revolution‘. Sound and abstract shapes are at the origin of the works by Delire, where the user can literally ‘play’ the ambients, while the italian Chiara Passa borrows only the aesthetic part of the videogames to illustrate a metaphor on love and media. Of different significance is the work of the albanian Gentian Shkurti, who, with his ‘Go West’, contributes to the definition of videogame as a medium, a conscious reflection of society which uses the game aesthetics and rules to communicate social and political contents, not forgetting a good dose of sarcasm. Within the opening is also scheduled am electronic music live set inspired to the videogames world by the italian musician e.g.¿.
