Joanne McNeil
Works in Brooklyn United States of America

BIO
writer (Los Angeles Times, Wired UK, Frieze, etc) // former editor of rhizome.org

Harely Cokliss - The Atrocity Exhibition (1970)


Duration: 17 minutes

Directed by Harely Cokliss (no imdb page exists) and features Ballard talking about some of the ideas which would coalesce into his novel Crash, published in 1973. Intercut with footage of test motor crashes and Ballard himself are semi-dramatised scenes with actress Gabrielle Drake. Remarkably effective and disturbing. - UbuWeb

Gabrielle Drake in the TV series UFO

More on Gabrielle Drake from Ballardian.

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Will Self on How Social Media Plays to "Romantic Yearnings"


Social media represent the sexual arm of the internet. They are replete with an idea that is implicit in romanticism and romantic thinking, which is that there are a myriad of possible encounters out there, of which one is optimal: one is mandated for all space and all time. And in a way the social media plays to people’s yearnings on a very strong level, and it animates them to continually re-engage with it on a rather licentious promise but with a rather romantic payoff. And I think that’s why it has such an insidious and overpowering impact, particularly on young people’s minds. - Will Self

via Stowe Boyd & Felix Salmon

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RECOMMENDED READING: Hans Ulrich Obrist In Conversation with Julian Assange II, e-flux


HUO: Do you think the Western world as a whole is being Putinized?

JA: The Western world is slowly being Putinized. It has progressed the most in the United States. But there is a rivalry with the banking sector, and it’s not clear who is going to win. It’s not even clear, as time goes by, that these will even be two separate, rival systems. Rather, the privatization of the national security sector means that, as time goes by, the connections between Wall Street and the national security sector are starting to disappear, because you have shared ownership of, say, Lockheed Martin or Boeing. And then you have cross investments and portfolios and credit default swaps, and so forth, on the functions of these intelligence contractors and military contractors. So, they are actually starting to merge at critical points. But, looking at the behavior of the White House, it’s clear that still within the White House—and in influences upon the White House—that there are still some distinctive differences between these two groups. Obama’s backers are from Wall Street. They are from his banking sector, his big money. And he does not actually have a handle on the intelligence and military patronage network. So it’s like he’s sitting on some cake mix, which is this military intelligence patronage network. As it grows stronger, he just has to sort of rise up with it as it moves in a particular direction. He has to move with it, because he doesn’t have a handle on it. He doesn’t have any spoon he can stick into it to move it around, because his family doesn’t have anything to do with this system. They’re not meshed with the system, so he can’t control it, whereas Hillary has significant connections within that system. And we can look at something like when it was announced that Knopf had signed an 800,000 dollars deal for my book to be published in the US, and I stated that I would use a portion of this money to keep WikiLeaks afloat. Peter T. King, the Chairman of the Homeland Security Committee—a powerful position in United States Congress—wrote to Timothy C. Geithner, the US Treasury Secretary, and personally asked him to add Julian Assange and WikiLeaks as an organization to the US Specially Designated Nationals List, which is the US embargo list. So in the way that Cuba is embargoed from all economic interaction with any US citizen under penalty of criminal action, I, personally, would be embargoed from any economic interaction with any US citizen, and so would WikiLeaks. Timothy C. Geithner then smacked this request back within 48 hours and denied it. It’s very unusual. Geithner is right from the elite of the Wall Street patronage network. And as US Treasury Secretary, he’s remained there. In terms of a diplomatic signal, that was very interesting. As a purely technocratic response, Geithner could have sat on it for two, three weeks, to then reject or accept it for technical reasons. To knock it back so quickly is to say, no, we’re deliberately sending a signal that we don’t want that to happen. And it’s very easy to understand, because the national security, government, and private sector in the United States flourishes from its lack of accountability, from its secrecy. That’s how it’s able to gradually increase its power. But WikiLeaks is holding that power to account. To generate or to encourage the adoption of a position where publishing or revealing information about the national security sector is illegal—or will result in being added to the US Specially Designated Nationals List—is to foster the power and expansion of that national security patronage network at the economic and power expense of the Wall Street network.

— EXCERPT FROM "IN CONVERSATION WITH JULIAN ASSANGE, PART II BY HANS ULRICH OBRIST, E-FLUX JOURNAL. Assange also responds to questions posed to him by artists Goldin+Senneby, Paul Chan, Metahaven (Daniel van der Velden and Vinca Kruk), Martha Rosler, Luis Camnitzer, Superflex, Philippe Parreno, and Ai Weiwei. (Part I)


Rutt-Etra-Izer


Video animation inventor Steve Rutt passed away May 20th. In addition to his work in video art, Rutt is known for creating the Rutt/Etra video synthesizer in 1972 with Bill Etra.

As a tribute, Felix Turner created the Rutt-Etra-Izer emulator:

Rutt-Etra-Izer is a WebGL emulation of the classic Rutt-Etra video synthesizer. This demo replicates the Z-displacement, scanned-line look of the original, but does not attempt to replicate it’s full feature set.

The demo allows you to drag and drop your own images, manipulate them and save the output. Images are generated by scanning the pixels of the input image from top to bottom, with scan-line separated by the ‘Line Separation’ amount. For each line generated, the z-position of the vertices is dependent on the brightness of the pixels.

(manipulated image is from Ryan Trecartin's Ready)

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RECOMMENDED READING: Douglas Rushkoff for Edge "THE INTERNET MAKES ME THINK IN THE PRESENT TENSE"


How does the Internet change the way I think? It puts me in the present tense. It's as if my cognitive resources are shifted from my hard drive to my RAM. That which is happening right now is valued, and everything in the past or future becomes less relevant.

The Internet pushes us all toward the immediate. The now. Every inquiry is to be answered right away, and every fact or idea is only as fresh as the time it takes to refresh a page...

This is not a bias of the Internet itself, but of the way it has changed from an opt-in activity to an "always on" condition of my life. The bias of medium was never towards real-time activity, but towards time shifting. Unix, the operating system of the Net, doesn't work in real time. It sits and waits for human commands. Likewise, early Internet forums and bulletin boards were discussions users returned to at their convenience. I dropped in the conversation, then came back the next evening or next week to see how it had developed. I took the time to consider what I might say — to contemplate someone else's response. An Internet exchange was only as rich as the amount of time I allowed to pass between posts.

Once the Internet changed from a resource at my desk into an appendage chirping from my pocket and vibrating on my thigh, however, the value of depth was replaced by that of immediacy masquerading as relevancy. This is why Google is changing itself from a search engine to a "live" search engine, why email devolved to SMS and blogs devolved to tweets. It's why schoolchildren can no longer engage in linear arguments, why narrative structure collapsed into reality TV, why and why almost ...

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Discussions (2) Opportunities (0) Events (0) Jobs (5)
JOB

Editorial Fellow


Deadline:
Fri Dec 28, 2012 14:00

Rhizome seeks an Editorial Fellow from January through May 2013. The Fellow will support the editorial department at Rhizome through research and writing for the website. This position is a unique opportunity for a person with strong dedication to the fields of contemporary art and technology to further develop professional skills.

The Editorial Fellow is ideally based in New York and must be able to commit to 16 hours of work per week for 5 months. This position is unpaid, but academic credit may be arranged. The Editorial Fellow will coordinate and assist in production of Rhizome's website and weekly newsletter Rhizome News. Fellow will support daily publishing and maintenance of the blog, as well as researching and writing editorial essays, reviews, and opinion pieces.

QUALIFICATIONS: Candidates must have a high level of familiarity with contemporary art and technology. Education or advanced experience beyond the undergraduate level is preferred. The candidate must have very strong writing, editing, and analytical skills, and very high internet literacy.

TO APPLY: Please email a cover letter, resume or c.v., two references, and three writing samples (url or attachment) to Joanne McNeil at editor(at)rhizome.org. Deadline Dec 28, 2012. Review of applications will begin immediately. Starting date is January 2013.


DISCUSSION

Improving Prometheus


The script is available on his website. Here is the link again to http://starwarsmodern.blogspot.com/2012/08/prometheus-rebound_14.html

JOB

Editorial Fellow


Deadline:
Fri Aug 24, 2012 19:45

Rhizome seeks an Editorial Fellow from September through December 2012. The Fellow will support the editorial department at Rhizome through research and writing for the website. This position is a unique opportunity for a person with strong dedication to the fields of contemporary art and technology to further develop professional skills.

The Editorial Fellow is ideally based in New York and must be able to commit to 16 hours of work per week for 4 months, beginning in Summer 2012. This position is unpaid, but academic credit may be arranged. The Editorial Fellow will coordinate and assist in production of Rhizome's website and weekly newsletter Rhizome News. Fellow will support daily publishing and maintenance of the blog, as well as researching and writing editorial essays, reviews, and opinion pieces.

QUALIFICATIONS: Candidates must have a high level of familiarity with contemporary art and technology. Education or advanced experience beyond the undergraduate level is preferred. The candidate must have very strong writing, editing, and analytical skills, and very high internet literacy.

TO APPLY: Please email a cover letter, resume or c.v., two references, and three writing samples (url or attachment) to Joanne McNeil at editor(at)rhizome.org. Deadline Aug 24, 2012. Review of applications will begin immediately. Starting date is Sept 17, 2012.


DISCUSSION

NA - Further Thoughts


Hi Patrick,

Thanks so much for these comments. You are right that the New Aesthetic is a broad conversation, but James Bridle's investigation is definitely political, unfortunately many of his points have been missed in the ongoing metacommentary. It seems a lot of people are confused by the visuals, which aren't *the* the New Aesthetic so much as artifacts *of* the New Aesthetic.

The NA Tumblr was Bridle thinking out loud, and something to consider in tandem with his writing/talks. Meanwhile, the conversation about these ideas has gone on for over a year now, over a number of blogs, mostly based in London

In addition to James Bridle's talks and notes, this is what I recommend reading to understand what the New Aesthetic conversation is really about:

Aaron Straup Cope's notes from SXSW:
http://www.aaronland.info/weblog/2012/03/13/godhelpus/#sxaesthetic

Chris Heathcote: A New Fashion Aesthetic
http://anti-mega.com/antimega/2012/04/02/a-new-fashion-aesthetic

Many, many BERG posts:
http://berglondon.com/blog/2011/05/13/sensor-vernacular/
http://berglondon.com/blog/2012/02/06/robot-readable-world-the-film/
http://berglondon.com/blog/2011/08/03/the-robot-readable-world/

We are the droids we’re looking for: the New Aesthetic and its friendly critics by JJ Charlesworth
http://blog.jjcharlesworth.com/2012/05/07/we-are-the-droids-were-looking-for-the-new-aesthetic-and-its-friendly-critics/

Honor Harger:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?A2=ind1204&L=new-media-curating&F=&S=&P=20818

Tom Armitage:
http://infovore.org/archives/2011/05/21/waving-at-the-machines/

Greg Borenstein:
http://urbanhonking.com/ideasfordozens/2011/06/07/on-the-future-and-poetry-of-the-calibration-pose/

Natalia Buckley:
http://ntlk.net/2012/04/12/on-the-new-aesthetic/

Other notes from SXSW are linked here:
http://booktwo.org/notebook/sxaesthetic/

this was my favorite New Aesthetic tumblr post, btw:
http://new-aesthetic.tumblr.com/post/21437296950/i-used-to-go-to-the-trocadero-in-central-london-as

JOB

Editorial Fellow


Deadline:
Tue May 01, 2012 10:00

Rhizome seeks an Editorial Fellow from June through September 2012. The Fellow will support the editorial department at Rhizome through research and writing for the website. This position is a unique opportunity for a person with strong dedication to the fields of contemporary art and technology to further develop professional skills.

The Editorial Fellow must be based in New York and must be able to commit to 16 hours of work per week for 3 months, beginning in Summer 2012. This position is unpaid, but academic credit may be arranged. The Editorial Fellow will coordinate and assist in production of Rhizome's website and weekly newsletter Rhizome News. Fellow will support daily publishing and maintenance of the blog, as well as researching and writing editorial essays, reviews, and opinion pieces.

QUALIFICATIONS: Candidates must have a high level of familiarity with contemporary art and new media. Education or advanced experience beyond the undergraduate level is preferred. The candidate must have very strong writing, editing, and analytical skills, and very high internet literacy.

TO APPLY: Please email a cover letter, resume or c.v., two references, and three writing samples (url or attachment) to Joanne McNeil at editor(at)rhizome.org. Deadline May 4, 2012. Review of applications will begin immediately. Starting date is June 4, 2012.