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.
Reproposing an ironic vision of an out of fashion past is one of the prerogatives of videogames, which have the possibility to recreate historic systems through simulations and keep afloat memories which the fury of information →
Inaugurated on November 4 at the Stadt Dortmund und Landesbibliothek the Readme 100, temporary software art factory , the 2005 edition of the festival culture of the software that already in the other three →
Syngress, ISBN 1932266860 This is the first text that speaks of spam seen through the eyes of a spammer by profession. The perspective of those living in the golden and insecure world of a →
The time consumed by a screensaver is a dissipated time, interrupted and resumed in its segmented and indefinite manifestation. It’s a marginal time that automatically flows and silently accumulates its wealth of images shown on →
If certain sounds have entered the collective imagination, it is thanks to this that manage to evoke. The Big Ben, for example, is not only the city of London, but the memory of →
The production of electronic artifacts is increasingly confronted with the technology as such, the state of the art hardware and software that often offer good opportunities for new interpretations. The more complex the comparison with →
is in times of rapid and radical change that ideas emerge that are able to interconnect past, present and future in a single synthesis, together with striking and paradoxical. The 'Buddha Machine Soundbox' could →
In view of the WSIS in Tunis in mid-November, WorldInformation.org The project is producing, in addition to a series of initiatives, another newspaper, in 'everyday' with interventions that dissect the problem of the →
If the practices of mapping represent a formalization of visual knowledge, which is able to synthesize abstract data such as the description of an area, in a publicly accessible form, less obvious are their construction →
Among the possibilities of the code of video games is certainly to disrupt and displays, the 'rules of the game' of the classical schemes. The mazes, for example, are based on research (es) pathways →
The sound waves are excellently transmitted through the air, and in this way we generally perceive it and judge the quality and production characteristics of the source. But trying to carry out the transmission through →
It is held in Pescara October 22 to 30 the Pescara Electronic Artists Meeting 2005 , festivals and international meeting between electronic artists. This is the third edition, after those of 2003 and 2004 →
The ability of electronic media to make any image ‘temporary’ through its digital visualization follows the temporarity of today’s informations and the shift from the stability of printed media to the transient disembodied light of pixels. →
The life cycle of electronic information is absolutely unstable, being tied to its recording media that must then be interpreted by machines whose standards have always been far from definitive. The lability of the →
