Critical digital culture and media arts · Since 1993
L'Archivio Neural è un archivio di pubblicazioni noi raccolte nel corso degli anni. Sfoglia la nostra collezione qui.
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.
Polity, ISBN-13: 978-1509501274, English, 240 pages, 2017, UK
Internet come sistema di comunicazione si è evoluto rapidamente dopo la diffusione dei social media. L’immediatezza dei dialoghi, sotto forma di post e commenti /chat rafforzati da tecnologie e collegamenti visivi, ha fortemente influenzato la quantità di espressione prodotta e quindi il suo contenuto. Una serie di comportamenti online che sarebbero stati considerati piuttosto al limite solo pochi anni fa, sono ora completamente accettati nel flusso sociale, e questa nuova galassia del folklore ha pervaso praticamente la cronologia di tutti con accenti diversi, con argomenti che vanno dalle generali elezioni alle distrazioni quotidiane più banali. Phillips e Milner indagano su alcune delle forme più interessanti di questo folklore e dei rispettivi vernacoli. “Ambivalent” descrive perfettamente la natura a doppio taglio di queste forme, che gli autori hanno studiato in misura ampia, andando ben oltre il solito meme e l’analisi virale. Hanno dei riferimenti teorici strutturati per costruire un contesto fondamentale e comprendere un nuovo glossario dei termini usati. Cinque geni sembrano collegare il DNA di queste forme: umorismo, gioco, identità, narrazione e dimensione pubblica, con diverse tecniche di base a supporto della produzione, come ad esempio il cosiddetto “absurdist humour” che si suppone utilizzi Photoshop per produrre meme astratti. Esiste una generale stranezza che emerge, riflettendo la complessità con cui ci troviamo di fronte, ma anche l’importante ambivalenza che sta dietro.
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