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.
In contemporary art installations the television is a commonplace item, sometimes used more for its “scenic” value than for its symbolic potential. In ‘Luminant Point Arrays’ Stephan Tillmans chooses analogue TV →
The combination of old and new media can create surprising results. ‘Palmtop Theater’, invented by artists Jitsiru Mase and Tom Nagae is a good example of this. By translating a nineteenth century magic →
The mashup master Mark Gunderson, aka The Evolution Control Committee, has been in the music plagiarism field for the last couple of decades. One of his latest tactical products (after so many others) →
The MIT Press, 480 pages, English, ISBN-13: 978-0262195881
There are few books that can be described as “essential” in a specific field. This is one of them. Salter extensively explores performances intertwined →
In algorithmic composition one frequent problem that programmers are faced with is how to make computers less predictable. The clue to the matter is that there are infinitely more variables in →
In a crowded restaurant a small plastic box attached to a power outlet goes unnoticed. It could be a transformer or a charger. The box conceals, in fact, a small computer capable of mapping →
Neural issue # 37 came with a booklet on Zachary Lieberman’s workshop at Fabrica. Here Lieberman asks the question: “How can we use code to create real-time animation that is lifelike and organic?” Back →
![lab[au]_metadesign.jpg](/images/lab%5Bau%5D_metadesign.jpg)
Edited by LAb[au], MetaDeSIGN, Les presses du réel, 2010, English, French, 224 pages, ISBN: 978-2- 84066-404-8
This is a comprehensive monograph of LAb[au], laboratory for architecture and urbanism and artist group founded in →
If your name is “Kimichi and Chips”, you define yourself a cross-disciplinary art & design studio and are based between London and Seoul, it should be quite a natural challenge to create →
Check the Culture(s) of copy photo set here.
Copying as a tool of the re- appropriation of meaning, amplification and creation of sense: this was the territory chosen for the exhibition “Culture(s) of copy” hosted →
