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.
A guardarsi intorno si ha la sensazione che l’epoca della reale presa di coscienza dell’importanza dell’equilibrio fra mente e corpo sia ancora immatura. In un momento storico in cui i nostri sensi sono estremamente sovraccaricati, il gruppo di artisti e →
Artists working with virtual reality have often called to question the user’s perception of their work, challenging the industrial paradigm of immersive virtual space. Alexander Schubert‘s Sleep Laboratory is designed for a group of ten people to lie in a →
The representation of the disconnection between spaces in virtual reality has been a concern since its inception. In Reconnection, Chun Hua Catherine Dong demonstrates the separation and reconciliation between perceived space, physical space and their associated meanings. The elements of →
DEPART group defines gardening as one of the most archetypal art forms. It encompasses many components, including aesthetics, practice and failure, and the recognition of complexity. Their “The Entropy Gardens” is a work of art that can be experienced in →
There’s a paradox in our technically advanced environment: although sophisticated sensors and techniques have been developed to appeal to almost all of our senses, they almost exclusively target our visual senses. Even the new wave of VR content and experiments →
Leuven University Press, ISBN-13: 978-9462702257, English, 332 pages, 2020, Belgium
If we can relate every medium to our senses, then we might also claim that media art is, more often than not, about our own →
Certainly one of the most interesting experimenter ever in writing with technologies, Mez Breeze has transversed online eras with remarkable practices. Her new work The V[R]erses is a microstory experienced through 3D rendered forms, which have text ‘nodes’ as →
“Respire” is an artwork realised by Kıvanç Tatar, Mirjana Prpa, and Philippe Pasquier belonging to the restricted amount of artworks in VR which are not focused on the perception (and often spectacle) of the virtual world, but rather on the →
One area of investigation for VR might be the kind of relationships we develop with three-dimensional anthropomorphic (or nonhuman) objects. “Cricoterie”is an enthralling work by Michaël Samyn & Auriea Harvey, the virtuosic duo who previously developed several alternative video game →
Alexander Schubert’s Control is an immersive installation using VR to challenge our participant in control, intimacy and perception. Participants share one floor of a building with performers who are controlled through cameras and monitors on another floor. The environment quickly →
