Joanne McNeil
Works in Brooklyn United States of America

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


SS/FW (2010) - Maura Murnane




At some point last summer, I was inside the photoshop, I was zoomed way in on someone's shoulder, smoothing out their lumpen seams, and imagining I was a tiny skier sliding down a mountain... I've removed the same freckles from the same model so many times that when I saw her on the train (irl), I blushed and had to look away.

The work I do allows your mind to wander, and reality becomes increasingly surreal, or just too real... After hours on the computer, you look at a friend and are distracted by the realization that their left eye is smaller than the right one, that they have chapped knuckles and abnormally blue veins.

I have tried to be zen in my work, and failing at that, have made these pictures. The compositions are automated, in 20-60 layers. They are mostly placed on the original backgrounds. Wherever there was a flaw, you see a mark. These marks, separated from the original, just to keep some kind of record and to draw a line between what is yours and what is mine. They look like ghosts to me.Maura Murnane

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Weekend Clicking


Paprika film still (via Rafaël Rozendaal)
  • Internet acronym of the moment: LDL ("let's discuss live.") Virginia Heffernan for NYT: there’s a widespread apprehension that the Web is no longer a safe place to spill them. Also: The Atlantic points out email is far less protected than the letters you send or the phone calls you make.
  • YouTube for the remixing — users allowed to tag videos with a commercial reuse Creative Commons license. C-SPAN, Public.Resource.org, Voice of America, Al Jazeera and other Creative Commons videos are available to use on YouTube Video Editor
  • How to livestream a tortoise. This is a serious question: Does a tortoise move fast enough that you need a 30 FPS camera? (Ask Metafilter)
  • Gary Panter in Paris, interviewed by French Vogue
  • I want to develop an image of the world, the real background, in order to be able to unfold my unreality before it, From Robert Musil’s Diaries, 1919 (Waggish)
  • One of the ways he initially dealt with the grief was playing as her character in Entropia, but Mindark has a one-person-one-avatar rule and he was asked to stop, Virtual world mourning, (Infocult)
  • Maciej Ceglowski (Pinboard) on link rot: Links appear to die at a steady rate (they don't have a half life), and you can expect to lose about a quarter of them every seven years.
  • In Brooklyn, check out the dozens of musicians playing free in a two day John Cage Musicircus performance at Roulette June 4th and 5th.
  • Writers and their typewriters (Dangerous Minds)
  • Open Source Game Clones
  • She was an Irish revolutionary and a writer, an occultist and a mother. She wore hats with birds’ wings on them. Of the couple, she had most of the charisma, and her letters and memoirs have become a favorite ...
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    The New Aesthetic


    The label reads: =if(Label=”“,”RMA”,”?”)

    This is an Excel function. It also would work in Microsoft Access. The factory is using Excel or Access to store all the logos for the different jeans they make and then print them onto leather. This is what happens when there is a bug in their software. (broken counterfeit jeans on Flickr.)

    Why do we enjoy 8-bit, glitch, and other technological imagery revealing the seams of its construction? "For a while now, I’ve been collecting images and things that seem to approach a new aesthetic of the future, which sounds more portentous than I mean. What I mean is that we’ve got frustrated with the NASA extropianism space-future, the failure of jetpacks, and we need to see the technologies we actually have with a new wonder." says James Bridle about his tumblr, The New Aesthetic. "It’s an aesthetic born of the grain of seeing/computation... the viewpoint of that other next nature, the robot-readable world," comments Matt Jones at BERG.


    New Scientist Report on "Your digital legacy"




    Special report in New Scientist's May issue on digital archiving and legacy:

  • The fate of your online soul:We are the first people in history to create vast online records of our lives. How much of it will endure when we are gone?
  • Archaeology of the future: Future historians will want to study the birth of the web using our digital trails – but how will they make sense of it all?
  • Respecting the digital dead: How can we keep digital bequests safe without poking our noses where they're not wanted?
  • Amateur heroes of online heritage: It'll take more than money alone to preserve today's internet pages for posterity
  • Teaching the net to forget: We've begun to accept that the internet cannot forget, but the power to change that has been in our hands for decades
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