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 hybridization of similar data, but from the common stock, represents an interesting experiment that includes the ability to interconnect dynamic inherent in the information, and a brand new character of 'familiarity' specification which can →
Edition Camera Austria, ISBN 3900508518 The process of 'abstraction', ie the opposite of the approach to a figurative description of the concepts and represent them through appropriate linear forms and color combinations, found in digital →
The ecology of the sound urban, populated with the production of portable devices and calculation of induced frequencies, promises to become one of the most humus-rich audio experimentation. The analysis and algorithmic variation (more →
If one of the roles of science fiction has to offer glimpses of a possible future, the ratio of the practical applications substantial shape subsequent to the feasibility of the ideas described, pertains exclusively →
' Generations on the Move 'is the title of the current edition of the Viper Basel festival. The festival, as well as the latest editions of 2002 and 2003 saw an important role of the →
Commissioned by Liverpool Biennial International 2004, and exhibited at the FACT Centre and Tate Liverpool, Evidence Locker is an installation on a DVD created by the artist Jill Magid of U.S. origin, which has →
The combination of image and sound, and their duality, complementary and parallel at the same time, implies by 2001 many of the curatorial dell'Avanto Helsinki Media Art Festival. But the most outstanding features of the →
The rapid and continuous changes of colored light integrated into each telecast stress to our visual perception costuiscono a light source continues. This keeps stress of the retina, to which we are accustomed in part, →
is still open 's 2004 edition of DEAF , seventh Dutch Electronic Art Festival which saw the usual place rich program of conferences, exhibitions and events aimed at Rotterdam, home of the V2 Institute for →
it is easy to find sites or magazines that provide the solutions of video games. They often show the overall structure of the levels, or reveal secret passages indicate tricks →
'Canning the immaterial' is what they try miserably to do the record companies via the copy protections of music released on physical media. This invisible barbed wire (hear, but do not touch), is stigmatized →
Representing the contradiction perched in the dens of capital means ruinously pierce the glittering backdrop systematically studied theoretically to dazzle the paying clientele. The strategy adopted for years by the Reverend Billy and his →
The invisibility of thought has in common a striking parallelism with the invisibility of the programming code. The processing, conceptual or algorithmic they are, in fact, have the remarkable ability to produce tangible →
Much of the appeal, which is still intact, to be credited to your turntable to the medium used, ie the physical disk and its manipulability. The correspondence visual and material that binds the visible features →
