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.
The accuracy of the calculations made by the software, in most cases, it is a matter of faith, as it is impossible to check with other methods the complex calculations that the machine is able →
Shanghai Zendai Museum of Modern Art If it is fashionable to define China as a new frontier, it is not wrong to think about how the unfettered capitalism which has subjected that his company →
Select Books, ISBN 1590790634 Spam embodies, with its inevitable everyday process 'suffer' the uncertainties and difficulties of modernity. But, like few other phenomena, sees a constant aggravation of the burden on, with a few, →
The physical reproduction of digital content is one of the gates through which the contents of the screens materialize into real objects. The challenge is to quickly reproduce the messages in sizes evidently higher than →
The mechanisms of the sequencing of the sounds are based on the full manipulability and stratification of the contents, modifiable by different mechanisms, with respect to a playback mechanism unique. In the →
book – Harvard University Press – ISBN 0674015436
The perspective of hackers as a social class is undoubtely fascinating a fascinating one. Thinking to this group of people all over the world →
Drastically reduce the number of visual elements with which to cope in the public space is becoming a need felt not only by intellectuals. The very high density, in fact, at which messages are composed →
The link between sound stimuli and visual stimuli is not limited to an image (moving or less) and to a sound produced in the same time. Our instinct in fact, recognizes that linking natural →
The claim to 'truth' of the television medium is one of the dogmas of the most difficult to break up after fifty years of bombardment of the retinas. Among the few options for action that →
The putting in the sequence of sounds is usually a purely digital process, which also in its possible physical interfaces (as in Audiopad or Block Jam ) takes the user to transcend the physicality of →
The phenomenon of ' circuit bending 'has certainly brought new life to the toy instruments, admitting them among the myriad of possible sound sources and various devices in the service of electronic musicians. But the →
The role of eBay in the digital culture has not yet been sufficiently described. The site now misnamed 'auction' has implemented not only an immense market capable of delivering the most unlikely objects, →
The MIT Press, ISBN 026206247X The interaction between different media system involves their interpretation as abstract processes, and in fact these are considered by Matthew Fuller (author of Behind the Blip ) in →
The MIT Press, ISBN 0262182408 Theoretical research on gaming is in full development with new wave of university departments dedicated, graduate courses, international conferences and frequently updated blog on the subject. Moreover, it →
