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 use of video in works that require interaction with the public is very questionable, since it reduces the paradigm unchangeable broadcast what was intended to be received freely or at most through a →
book – NTT Publishing Co. – ISBN 4757170270
Summarizing fifteen years of (new) media art is no easy task, neither for an exhibition, nor for a writer. If we discard →
The 'slogan' or 'payoff', if you prefer a bulwark of persuasion are perpetuated by the 'Corporate Culture', ie that culture capable of instigating our imagination with a few targeted stimuli, →
The visual path that is established in the viewer of a piece of visual music makes her different perception of sounds, the more it is linked to the output which is reflected on the →
NTT Publishing Co., ISBN 4757170270 Summarize fifteen years of (new) media art is not a simple task, nor for the design of an exhibition, néonnicomprensive for the preparation of →
The cultural role of interfaces in computer music software has greatly contributed to the development of contemporary styles and the evolution of production techniques. The iconisation of knobs, sliders and writings were fused to the →
The control on the flow of signals that surround us and through the co-ordinates of our body is increasingly complex and elusive. The logs that record our actions and movements are numerous and intertwined →
In the work City Live , the artist of Baltimore Daniel Shiffman shows us a metropolis imperceptibly button, which is colored lights when the viewer decides to participate in the creative process. Initially we →
The transformation of a piece of music data in binary is not, of course, merely a technical process. The theoretical and practical implications arising from the infinite manipulability of the data obtained are numerous and →
The invisible magnetic intrusion of transmissions is a reality that surrounds us so much, what actually manifests itself only in the illuminated screens of phones, PDAs and laptops, leaving more to the indifference →
A Painting Of Three Places , artist and teacher Icelandic Pall Thayer, author of Panse , International Spontaneous Jam Session and Hlemmur in C , is a 2D spatial representation that →
Three vertical surfaces affixed with a variable number of webcam include a fan delimit the physical space viable installation, while – in the remote – Internet users control the orientation of the same →
Dack.com biting is a site in which the author (Dack Ragus, an American designer) likes to make fun of some of the myths that have mostly taken hold in the collective imagination →
The run-up to the latest technologies fueled by the sirens of marketing is a sad chimera guarantee of success that almost never keeps his empty promises. The genius, however it is often stimulated by →
