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.
Among the conceptual works that base their appeal on the paradox, NaDa well represents the world's commercial software industry and its representation in a browser window. NaDa, in fact, is presented as a product 'that does →
<book + cd-rom>
Fact, ISBN 0-9541604-9-5
Curated by Armin Medosch, this ‘introduction to the free software world and to copyleft culture’ collects in an agile and graphically nice booklet, with cd-rom included, texts, works and software →
A confirmation of how to change just a few strategic elements to give new meaning to the narrative structures, The SARS Kung Fu hack is changed to another game with some well-aimed art that changes communicates →
Edwin van der Heide is a Dutch sound artist, who devotes much of his research to the sound percepitp such as size, or as invisible element inherent in space, which becomes predominant when exalted in his →
O'Reilly, ISBN 0-596-00105-3 There are essays which were redacted, while showing next to the time that has passed since their first edition, are balanced and informative even after a few years. 'Database Nation' seems to →
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25.10.03 Portret Series, generated portraits.
Elout de Kok, author of several experiments within his Pixel Lab, has developed, during this year, the Portret Series, an array of →
Worms in Sand is an installation of Sinikka J. Olsen, a student at Kunsthø; gskolen in Oslo, which weaves natural elements, aesthetic and telematics. Fascinated by natural patterns, in fact, the artist has placed in a →
There are countless as the grains of sand that you can put in the gears of control over the privacy of citizens. The mechanisms computer that oversee them, in fact, are among the most easily circumvented →
Free Speech for Sale follows the tradition of artistic experimentation based on plagiarism and the détournement of commercial products, as it was for the '100 Soup Cans' by Andy Warhol and the cut-ups of William S. →
The realistic simulation of synthetic creatures inevitably passes on the credibility of conduct taken by the characters artificial evolution that fifteen years ago envisioned for them a'' artificial intelligence '. In this modulation of howling, which →
Organized by the team of Radioqualia and the Institute for Contemporary Art at the Lounge Bar at Jo'Burg of Cape Town (South Africa), <re:Play> is an exhibition of 'critical games', ie of video games made by →
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30.10.03 nostalG, twisted flight simulator.
nostalG is the latest effort by Retroyou, who were among the first authors of videogame art, that is, of patches and code →
MaxGumTree is a 'sound toy' in flash that obeying an alien language made up of lines, dots and circles, animates a rubber tree, in fact, that produces balloons ready to burst, translating its evolution into a →
The project Agora Phobia , created in 2000 by artist Karen Lancel, takes the form of a Pillar Isolation / Free Zone placed in public spaces in different cities. A semi-transparent structure that can accommodate only →
