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 site neoism.net , one of the few online experiments regarding the irreverent and provocative movement of the eighties, is now in version Wiki. Difficult to define, Neoism is, according to the Neoist tENTATIVELY a cONVENIENCE, →
Verlag für moderne Kunst Nürnberg, ISBN 3936711305
Those who learned about Cornelia Sollfrank thanks to the latest release of her famous net.art generator, have seen only the tip of the iceberg. The artist, hacker →
The possibilities of technology to reflect some of its structures through integration with organic systems leads to a mingling of elements which show the respective dependence, and at the same time, the need for collaboration. Gongs →
Over time it seems that video games would be assigned an increasingly strategic role in forming consciences. Which is not so far from reality, given the commitment by the industry to pursue a dull uniformity net →
The shared use of urban land, newly induced transformed communications capabilities, represents a potentially vast space of interaction. The roads traveled and crossed daily by the community, they tend to become places of direct communication, exploiting →
The composition tool online often translate into cloying interactive toys, that exploiting the basic tools of composition audio / visual assemble procedures with some special effect which you get tired after a while. Unlike these Domino →
The use of mapping tools to display information flows and their connections trying to extract and aesthetic sense, seems to be one of the major contemporary concerns, partly because accentuate the illusion of control over the →
Common sense tends more and more to perceive Google as the updated archive of the entire network, which is a large part of human knowledge. ƒ known that it is very far from reality, not to →
Shake Underground Editions, ISBN 8888865098 archeology of the imaginary electronic Kraftwerk surely occupy a very prominent: this is, of course, beyond the scoop itchy awakened from a biography of controversial and not very benevolent towards →
.emusic
23.11.04 Hardware Orchestra, a sequencer made with recycled components.
The unrecognizability, for the typical computer user, of everything inside the case, of →
Neural.it received a Honorary Mention in the Net.Vision category of the Prix Ars Electronica 2004.
I thank you all for supporting and substaining Neural at various levels in all these years.Nevertheless i have to say that →
Copy-art.net is a copyright-free website, designed by Irini-Mirena Papadimitriou, with the intention of creating a platform for sharing online creative works and projects between artists, curators and the public. Starting from the assumption that our knowledge →
It started in Linz, as usual, Ars Electronica , which this year celebrates its 25 years of activity with the appropriate title for Timeshift, trying to look far in the two temporal directions (past and present) →
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19.11.04 Wimp, artfully manipulated windows.
The graphical points of reference on the screen are fundamental for our interaction →
