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.
Graffiti is a medium time-bound? This is the question behind the project of Cassidy Curtis, ie the website Graffiti Archaeology . According to its author, Grafarc is the study of 'mural' framed within a →
Edition Bauhaus, ISBN 3936314942
There’s a lively attention to the urban public spaces, meant as networked laboratories on communication and as places where the information flows around the moving people. What systematically happens in →
Sampling, copyright and collage, these are the research fields of the Copyright Criminals: this is a sampling sport documentary, conceived as a work in progress, and shot by Benjamin Franzen, a Changing Image video-journalist, and →
book – The National Publishing House “Yantarny Skaz” – ISBN 5740608537
In order to find its autonomy, Bio Art (a term described by Jens Hauser, curator of the “L’Art Biotech” exhibition, as an “etymological →
dvd video – Index – Index DVD 005
The video art, cleverly supported by national tv networks, has represented a precious expressive resource during the ‘tv’ war in the former Yugoslavia. Its impacts, already →
The ‘inappropriate’ use of a commercial software for different purposes is one on the infinite possibilities of data processing, that can be shared on the net, or can be extended as we more and more reappropriate →
If the immaterial surveillance would be applied by anyone to the control centers and mechanisms (in a sort of ‘watch the watchers’ scheme), it could form a maze of public informations that could reverse →
If the immaterial surveillance would be applied by anyone to the control centers and mechanisms (in a sort of ‘watch the watchers’ scheme), it could form a maze of public informations that could reverse →
The ‘inappropriate’ use of a commercial software for different purposes is one on the infinite possibilities of data processing, that can be shared on the net, or can be extended as we more and more reappropriate →
The video art, cleverly supported by national tv networks, has represented a precious expressive resource during the ‘tv’ war in the former Yugoslavia. Its impacts, already analyzed in the book Situated Contemporary Art Practices can →
FIle, ISBN 9984953807
The sense of an international festival would not leave his role out of consideration. This is being a link between the melting pot of the collected ideas and the local reality that →
The new Neural printed magazine is out (issue 23). It’s full of interviews, reviews and intersting stuff as always. Amongst the highlights: Socialfiction.org psychogeography theories, the dangerous ‘physical’ videogames of Fur group, →
book – FIle – ISBN 9984953807
The sense of an international festival would not leave his role out of consideration. This is being a link between the melting pot of the collected ideas and the →
0100101110101101.ORG keeps their identity of band of media artists who use non conventional communication tactics to obtain the largest visibility with the minimal effort. Their last work, ‘United We Stand‘, →
