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.
It is entirely digital, from design to print, the creative process of the work by the surrealist artist Ray Caesar , who, starting from the design of three-dimensional models primarily through the use of software, and →
To what extent can push the control of a citizen through the intersection of data from multiple databases? This is certainly an open question and requires continuous attention of those who are called upon to ensure →
MIT Press, ISBN 0262232340 The feeling that something is 'alive' is closely linked to the autonomy of expression of the object in question. The simulations of 'life', that is the area of 'artificial life', has →
.hacktivism
12.10.04 Bugmenot, tricking free registration sites.
The legacy of the golden era of new economy are here to stay. Among them is the myth of being →
The naturalization of the interfaces is a long and difficult process and the use of our usual communication tools sensory mediated by the formalization and the restrictions that imposes their digitization, makes the process even more →
Daniel Shiffman, a degree in mathematics and philosophy at Yale University and a position as researcher at the University of New York, soon began to experiment with the interactive potential of new media when, as often →
The term ‘subvertising’ merges the words ‘subvert’ and ‘advertising’, that is, it’s the act of subverting through the advertising medium. The fusion of these two concepts is a neologism expressing the act of redesigning logos and →
The industrial processes of mechanical accounted for years serialization (and apparently unstoppable) the production of goods. The machines, in particular, with their constant repetition of modeling and processing of semi-finished and finished products ready for sale, →
The succession of the media over time allows you to create hybrids with paradoxical features, in which the old media host data that have not been established, or new media are shaped to emulate old. To →
The definition of ‘artificial creativity’ involves the possibility of machines to be programmed to generate artifacts of any kind comparable with those made by a human mind, through processes and algorithms impossible for a human →
The checks carried out mass to verify the identity of each one through biometric techniques have often been called into question, especially for their fallibility, as demonstrated even giuggole adequately prepared. The Open Biometrics Project and →
Public places of burial represent mainly the memory of a community, the representation of the appearances that have historically constituted. They are the geniuses who built the living organism represented by the same community, alive and →
The programmability of electronic images allows to redefine any device able to transmit an image, including the most ancient and simple. Mirrors, for example, are among the most natural and intuitive, even with their characteristics of →
At the base there is a musical dell'improvvisazine virtuous use of the instruments, which frees the possibilities enforceable through a manipulation of the object and of its shape. Electronics improvisation has almost always had to do →
