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 language of the video has undergone various semiotic jerks in the nineties, years that saw the opportunity to swoop in personal computers home video editing. The resulting geometric increase of the trials and the parallel →
The run of the top news of the mass media causes a duplicate of infinite words and names in the network, with a preponderance (in percentage) in the contents to rapid perishability. Obsession reflect the →
The sound communication, of which the voice is only a part, is one of the sensory components essential for the human being. The ecosystem hearing that the machines have created the industrial revolution is a →
ZRC Publishing / Revolver, ISBN 3937577408 Marina Grzinic, artist and theorist of media, is among the leading expert in the peculiar evolution of the media in art and in society in the territories →
ZRC Publishing / Revolver, ISBN 3937577408 Marina Grzinic, artist and theorist of media, is among the leading expert in the peculiar evolution of the media in art and in society in the territories →
The screen is the place that welcomes the truth (alleged) of our media society. The illuminated pixels are constantly changing, representing the real through their colors in constant motion and their icons built. The →
Digital technologies industrial point to a cinema as immersion virtual space in which the viewer inter / now acts as a cameraman, now as editor. Nothing virtual film sets have instead made miniature by →
While the Vatican launches yet another attack against video games accusing them of pushing young people into Satanism , a U.S. company apparently proposes a system to transform them into educational products. The mindbending →
Metropolis real transfigured in the story, fanciful visions of a hallucinatory, surreal thrills and post-apocalyptic, extremely dense and godile in an anthology, edited by Peter Crowther, one of the most influential science fiction →
The attention of multinationals towards products 'unique', which characterize most of the indiscriminate propaganda for the worship of their brand, seems to be growing and focused on the →
Inaugurated on March 20 Making Things Public a mammoth exhibition organized by the ZKM in Karlsruhe and curated by Bruno Latour and Peter Weibel. Focused on the representation of politics by the spirit →
Undoubtedly, the work Quadratime of seite4, fractal abstract art software, part of the exhibition Algorithmische Revolution at the ZKM in Karlsruhe, and inspired by the painting Black Square (1915) by Kazimir Malevich, is one of →
Perception of the area is at the center of two parallel cultural practices: psychogeography, with its roots situationist but strongly re-engineered from the technologies of lease, and the mapping, namely the establishment of areas in →
The 'player piano', or mechanical piano has probably been the conceptual precursor of the modern techniques of music sequencing. Her prepared data encoding music for playback always identical from one instrument has sometimes →
