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.
A biodegradable sculpture, available to anyone who wants to contribute to shape it remotely. That’s how Emailerosion looks. It’s a installation conceived and built together by Ethan Ham, a sculptor, and Tony Muilemburg, a robotic designer. →
Normally there’s an individual perception of our own shadow? What’s the relationship between the body and its projection in space? This is the area of interest Shadow Bag deals with. It’s an installation by Scott →
A biodegradable sculpture, available to anyone who wants to contribute to shape it remotely. That’s how Emailerosion looks. It’s a installation conceived and built together by Ethan Ham, a sculptor, and Tony Muilemburg, a robotic designer. →
CD – Ash International
Experimental electronic forms, drones and extreme analogical permutations, between noise and industrial culture (Test Dept, Throbbing Gristle, SPK and Z’ev, among the stated influences) mix together for Jan Svensson →
The second edition of the Piemonte Share Festival is taking place from 8th to 12th March at the Academy of Fine Arts in Turin, under the general topic of ‘Limitless’. After the 2005 edition →
The second edition of the Piemonte Share Festival is taking place from 8th to 12th March at the Academy of Fine Arts in Turin, under the general topic of ‘Limitless’. After the 2005 edition →
Check the transmediale photo gallery.
This year’s Transmediale, ran under the slogan ‘Reality Addicts’. As it has happened before throughout the history of the Berlin festival the focus of the event has shifted according to current →
See the Transmediale photo gallery.
Being Reality Addicts in a society highly mediated by technology means being techno-addicts. However if transmediale.06 is devoted to the artistic strategies that subvert the technological paradigm of reality, also ‘Smile →
See the Transmediale photo gallery.
Being Reality Addicts in a society highly mediated by technology means being techno-addicts. However if transmediale.06 is devoted to the artistic strategies that subvert the technological paradigm of reality, also ‘Smile →
Check the transmedia photo gallery .
This year's Transmediale, ran under the slogan 'Reality Addicts'. As it has happened before Throughout the history of the Berlin festival the focus of the event has →
It was the ’70s and SKP Promotei group was experimenting the use of television screen in a series of artworks called ‘Electronic Paniter’, which consisted of programming sequences of colors through →
It was the ’70s and SKP Promotei group was experimenting the use of television screen in a series of artworks called ‘Electronic Paniter’, which consisted of programming sequences of colors through →
Harddisko is an installation made by Valentina Vuksic (a Media Art student at the Zurich University of Design and Arts), focused on what is really at the core of any ‘computer music’ discourse: the raw PC →
Harddisko is an installation made by Valentina Vuksic (a Media Art student at the Zurich University of Design and Arts), focused on what is really at the core of any ‘computer music’ discourse: the raw PC →
