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.
Bloomsbury Academic, ISBN-13: 978-1623567453, English, 376 pages, 2013, USA
More than a decade after his best seller “The Language of New Media”, and five years after he started to post drafts on mailing lists, the new Manovich book is finally published. The preponderant role of software in contemporaneity has been noted for some time, so the question now is to understand its key elements (in terms of standards and media) and their strategic role in influencing society as a whole. This is part of the project of developing a constructive criticism that could give “software studies” its due relevance. Manovich focuses on popular software like After Effects, Photoshop and Google Earth, as case studies of “cultural software”, or “software to build cultural objects”, analyzing interfaces and the cultural significance of standards. Starting with Alan Kay and Adele Goldberg’s definition of computer as a ‘metamedium’ he reinforces the importance of software emulation in early systems. This is not only very useful for a philology of systems, but also for making them expandable in original ways and aware of their own history (at the same time as underlining how the business models of IT companies are based on forgetting, instead of celebrating their past). He writes about the benefits that could be derived from the “hybridization” of systems, and the “deep remixability” of medium and content. Symbolically Manovich considers this book a piece of “software”, with its (free) updatable digital publication and online distribution, it is a constant work-in-progress (previous versions are maintained and made available in a sort of “versioning” for publications). Alessandro Ludovico
