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.
Printing on paper, irrevocably marked by the revolution of 'desktop publishing' in the mid-eighties, continues to evolve in new ways, innovating as they integrations between different media are more simple. But innovation in →
In London, at the Gallery Furniture Works, was inaugurated Sequences , exhibition celebrating the art and history of chronophotography. Developed in the late nineteenth century mainly due to the contribution of Etienne-Jules Marey and Eadweard →
In London, at the Gallery Furniture Works, was inaugurated Sequences , exhibition celebrating the art and history of chronophotography. Developed in the late nineteenth century mainly due to the contribution of Etienne-Jules Marey and Eadweard →
Working Title is the last effort of net.artist and DJ Cuechamp (aka Rick Silva), and consists of four minutes of care 'Ludwig Van'. It is in fact a sequence of opening credits of the →
The screen is the place that welcomes the truth (alleged) of our media society. The illuminated pixels are constantly changing, representing the real through their colors in constant motion and their icons built. The →
Digital technologies industrial point to a cinema as immersion virtual space in which the viewer inter / now acts as a cameraman, now as editor. Nothing virtual film sets have instead made miniature by →
Undoubtedly, the work Quadratime of seite4, fractal abstract art software, part of the exhibition Algorithmische Revolution at the ZKM in Karlsruhe, and inspired by the painting Black Square (1915) by Kazimir Malevich, is one of →
book – NTT Publishing Co. – ISBN 4757170270
Summarizing fifteen years of (new) media art is no easy task, neither for an exhibition, nor for a writer. If we discard →
In the work City Live , the artist of Baltimore Daniel Shiffman shows us a metropolis imperceptibly button, which is colored lights when the viewer decides to participate in the creative process. Initially we →
The transformation of a piece of music data in binary is not, of course, merely a technical process. The theoretical and practical implications arising from the infinite manipulability of the data obtained are numerous and →
