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 create with simple shapes generated by computer visual rhythms that pulsate agreeing with a piece of music is one of the characteristics of vjing, which defines one of the approaches to the graphical representation of →
Rafael Lozano Hemmer is an artist who has long specialized in the interaction between its research and public use and electronic technologies, creating a unique path that has materialized in the seminal installations Vectorial Elevation , →
Retain that sense, take on or lose the symbols and jargon interface of the navigation of cyberspace when you take off the screen? After Fax.nl , the artist Darko Fritz has created another installation that →
Nell'effervescente electronic music scene there are 8-bit radicalizations interest in the use of computer tools atavistic, with bands that defy the 'limitations' intrinsic computers twenty years ago to assemble electronic music very special. The Tree Wave →
The mobility of devices and wireless technologies is slowly triggering an afterthought conscious of the territory thanks to the different coordinates testable by their use. Pre / amble , is a festival of art and psychogeography →
The time on the Net assume different coordinates in a sequence hardly localizable, since the experience flowing from one screen to another, and where the environment is continually redefined without any physical movement than that of →
.hacktivism
18.11.03 Bureau d’Etudes, cartographies of power.
The typical organigrams of a company organizational structures, are nothing but a graphic paradigm to describe the levels of power. This →
Following a positive trend also ' 2003 edition of Observatori , which opens Oct. 30, the company distributes its events in many different places in Valencia. Already in ' edition last year had experienced the opening →
.hacktivism
11.11.03 MindGuard, fake software on psychotronic control.
Conspiracy theories have always gained a following in the western countries, a fact which demonstrates an active vigilance on the →
A promising fake in the name of 0100101110101101.org was unveiled shortly after its launch through the usual massive communication campaign. In a statement very similar to those that are usually branched from the duo, in →
The rapid succession of images on the screen is one of the principles of hypnotic television, as well as those of expansive consciousness of brain machines. A solicitation of our visual perceptions, then, that leads us →
Conceived as a project pre-opening of the new Mori Art Museum in Tokyo, recently opened, OpenMind is a CD with eight audio tracks and four software, made to represent a cross-section of members of the historical →
Designed by Roland Henss for Plazm, Capitalis Pirate is a font in which each each letter, number or sign is extracted from the corresponding letter of the logo of a multinational. This selection will reflect on →
.emusic
11.11.03 Bass-Station, a music server in a ghetto blaster.
The external look of the hardware possesses a strongly symbolic component in the representation of its contents, and →
