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 manipulation of the television paradigm, that is the only household appliance capable of irresistibly attract our immediate attention, as well as the real-time display of images, represents a serious challenge to the veracity of television →
These days The face of media activism that protest against the Republican National Convention in New York? incredibly numerous and varied. Dozens of projects, actions, tools are put in place to consolidate a vast movement in →
The mobile intervention within the urban area is one of the popular sizes being explored by visual artists and sound. The spatial location of the works within the places normally enjoyed in a different way, introduces →
The paranoia for 'national alert levels' is a prerogative of American culture, where the alarm to the nation, extremely useful tool to instantly revive a vacuous patriotic spirit, has in recent years become a sadly accepted →
It opens Aug. 22 in Aarhus, Denmark 's 2004 edition of READ_ME , an international festival of software art that this year is divided into a two-day conference and a subsequent three-day 'camp', understood as a →
ƒ underway in Pescara on MOCA, Metro Olografix Camp , an event organized to coincide with the tenth anniversary of the historic cultural association of the same name telematics. With a large program, were invited many →
The MIT Press, ISBN 0262232324
‘First person’ enjoyment binds traditional literature and the videogames where the player sees the world from a first person perspective. Anyway, there are fundamental differences between the two ‘genres’ →
After the broken promises of reality 'immersive' announced ten years ago by the media boom of virtual reality, isolation from the outside world and dive into a parallel dimension to its surrounding area have hired a →
It takes place in Scandinavia, and the precision between Stockholm, Helsinki and Tallinn as well as by sea, ISEA (International Symposium on Electronic Art) in 2004 , the biennial international conference that brings together artists, critics →
The top level domain assigned as over the past decade are now unanimous recognition in a network of state, in the space of a point and two-letter unique. In chronological order the latest assignments have been →
The hacktivist mobilization towards the Republican convention in New York is enhanced periodically announced initiatives such as Operation Urban Terrain and Bikes Against Bush , and tools that give the protesters the certainty of being isolated →
It takes place in a wide span of time the edition of 2004 of the Garage Festival in Stralsund, Germany. After editions in recent years (including those of 2001 and 2003 ), this year's theme is →
Turn the operation of objects by making them do exactly the opposite of what you are supposed to do is another of the classic mechanisms applied in contemporary art that are very well highlighted when they →
CSDS, ISBN 8190142941
Every day, ‘official’ media shape the public opinion on the endless ‘normalization’ of wars and, with their continuous production of images of war and death, anaesthetize our consciences with fast →
