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.
book – The MIT Press – ISBN 0262122790
The ‘public’ dimension (related to the common urban and networked spaces) is the place where social mediations and force ratio happen. This bulky catalogue →
The annoyance associated to an unavoidable noise (a dripping sink for example) has a continuous repercussion on our psyche, even if it overcomes our constant awareness. The artist Alexander Berman →
book – The MIT Press – ISBN 0262195186
The body’s evolution, from an outer world’s atavistic interface to an over-stimulated multisensorial apparatus, has been a huge research field from the early nineties. →
The sensorial overload we suffer from when we travel in public spaces, comes from the excessive information amount we are forced to face there (mostly advertising). In the advertisement’s spaces the juxtaposing of words →
The sensorial overload we suffer from when we travel in public spaces, comes from the excessive information amount we are forced to face there (mostly advertising). In the advertisement’s spaces the juxtaposing of words →
The MIT Press, ISBN 0262122790
The ‘public’ dimension (related to the common urban and networked spaces) is the place where social mediations and force ratio happen. This bulky catalogue of another impressive →
The annoyance associated to an unavoidable noise (a dripping sink for example) has a continuous repercussion on our psyche, even if it overcomes our constant awareness. The artist Alexander Berman →
If the generative music has created the vision of automated music systems, the developments that really has brought a sufficient independence degree and acoustically appreciable results has come from different areas. Pet_00by Laura Baxter and Simon →
From such a long time a dance and the electronic technologies have found a good connection, mostly in the use of motion sensors. These devices allowed the body to expand its movements beyond themselves, giving the →
From such a long time a dance and the electronic technologies have found a good connection, mostly in the use of motion sensors. These devices allowed the body to expand its movements beyond themselves, giving the →
If the generative music has created the vision of automated music systems, the developments that really has brought a sufficient independence degree and acoustically appreciable results has come from different areas. Pet_00by Laura Baxter and Simon →
Autonomedia, ISBN 1570271682
The devastating social consequences of the post-fordist economical models had led to the flooding of work time in our private spaces, and this is one of the fundamental themes →
Vinyl is perhaps the last organic medium that has still its own importance in the music data transmission. Its characteristics of collateral unclean sound are impressed in the memory of some generations, and for this →
The new media critic’s tension is often oriented to understand that subtle cultural membrane created by the machines during the communication, that is actually ubiquitous. Particularly in written communication, the verbal and programming language’s →
