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.
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 →
Univ Of Minnesota Press, ISBN 081664537X The analysis of digital sound and what historically has resulted in the transition from a physical dimension and continues to an immaterial and discreet, often ignore the →
The control mechanisms based their power on the identification of unique entities controlled, thanks to the technologies applied to cross the evidence to verify the uniqueness itself. This overlap of data which aims at reconstructing →
dvd video – Baltic
Camera surveillance gives rise to many questions: how are people’s movements perceived by the watchers? How do their behaviour changes when they feel observed? What kind of archive is created →
The recovery of sound data and their connection with visual data related to a place, involves the establishment of ties arbitrary, but in some way related to the subjectivity of the person carrying them out. →
The reinterpretation of television images, making them exit the video and placing them in different contexts, it implies a transformation of meaning that breaking the habit-forming mechanism of the small screen, →
The recognition of the images and their synchrony with the sounds that accompany them temporally determine peaks of attention that the Granular Synthesis, ie Kurt Hentschläger and Ulf Langheinrich, have enjoyed for more than →
The politics of terror, continuous-security and self-legitimation of control and repression has brought about critical thinking that is slowly gaining strength, spanning the various cultural sectors, not least through music, bands and musicians that process dissent →
dvd video – Crónica
The fundamental role of the radio (the first source of ‘noise’ and the priincipal instrument for the conscience of sound, beyond the mere listening to music) is the theme →
book – Continuum – ISBN 0826416152
The genealogy of contemporary music passes through many essential points distant in time and in cultural ambits. Only now, in the time of networked information, we can trace →
