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 MIT Press, ISBN 0262072602 The concept of 'Open Source', though often made ambiguous and cannibalized by the industry itself which undermines the principles of savage exploitation, is one of →
This product has nothing to do with the Mecca Cola & Co., nor with other sparkling drinks that have marketing strategies like presenting as a safe alternative to the U.S. giants or, sometimes, →
The inevitable hierarchy of importance of data over a network, which originated in the time because of search engines, whose goal is to always be 'the best selection of content' in relation to specified keyword, →
One of the specificity of today's digital cameras is that you have returned to a mass audience in a rendered image semi-professional, also thanks to the infinite possibilities of evidence permitted by the shots →
The interdisciplinary approach that characterizes the most interesting groups of audiovisual music sheds light on how the concept of 'group', especially if you also linked to a live performance dimension, has long since crossed musical →
The aseptic interfaces luck something. That’s evident giving a look at all that customizations and the aesthetic variations made by small and daring software houses. But this maquillages rarely engage in challenging the desktop metaphor’s foundations →
The exponential grow of the information access has made us bulimic for our image daily dose, pretending it has to be always new and more and more unexpected. Moreover in our daily environment the →
The collaborative sound projects are built on a given entity to be pooled, a lowest common denominator capable of seeding new ideas and unusual deviations of thought. These can then generate a collective →
In the networked art the artwork ‘s boundaries dissolve in the intertwined relationships between subjects, objects, strategies and theories. This process not only modifies artistic, political and commercial models, but it transforms the →
a conference curated by Tommaso Tozzi and Alessandro Ludovico
Friday, July 29, 2005
Accademia di Belle Arti (Academy of Fine Arts)
Via Roma 1 – Carrara (Tuscany, Italy) →
The voice is the only 'musical instrument' still can not be simulated efficiently by computing equipment. Despite promising products, but targeted to professional users, such as the Vocaloid by Yamaha, the entry is not part →
Twitchy Fingers Scott Fitzgerald (aka Droolcup) is an installation video live like a house of mirrors, in which the image of who is captured by the camera is reflected and distorted in a self-propelled →
Springer Verlag, ISBN 3211238719. Media Art Net The project comes at a time when attempts at historicizing of media art rained. Several agencies and publishing houses are making tangible efforts to provide on →
How much public space is sold for advertising purposes is difficult to estimate it. Our visual landscape is crowded with logos, names that will directly or indirectly trying to sell something. The combination of all →
