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.
In recent years, the role of XR technologies has been consolidated as a virtual space where alternative realities can be experienced and, at times, shared. XR in art has taken on a specific character: it is a place where what is forgotten, forbidden, or simply not possible in our physical world can be realised, allowing our senses to embrace an illusion. Ukrainian artist Sophia Bulgakova has focused her recent work on the personal aspects of living through war, both where it occurs and from afar. Her installation, OTHERWORLDS, immerses visitors in a VR experience of a different time and space, yet one that could still exist in the present moment. It embodies an ancient pagan Ukrainian ritual centred on the cyclical transition of seasons and the evolving patterns of nature during these times, bearing witness to the eternal ‘flow of life’. This ritual of ‘communal growth and rebirth’ employs symbols, sounds, ancient instruments, and songs. Engagement is based on collective involvement rather than prior training, facilitating an escape into a space within the machine, enabled by a collectively negotiated presence. The folk dimension is an indelible aspect of a nation at war. It reconnects people through shared space and resources, joint efforts, and mutual acknowledgement, which is essential in any ritual. All of this intrinsically opposes conflict, instead fostering the consolidation of society. Furthermore, the physical infrastructure of the piece requires all participants to be connected to a central element, reflecting the presence of a core, referential feature in rituals, such as a fire or a shaman. The various components reinforce the unity and interdependence of the different parts, set within the poetic and eternal natural environment to which we all belong, through a shared, intimate series of inclusive actions.
Sophia Bulgakova – OTHERWORLDS
