NewHive: A "Blank Canvas" for the Super-Feed

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Screenshot of booty by ana carrete from NewHive.

NewHive is a new service for creative expression online. Founded by Zach Verdin, Cara Buccifero, Andrew Sorkin (who later left the company), and Abram Clark in Seattle, the company launched in private beta in November 2011 with the public launch in 2012. The website describes itself as a "blank canvas" for expression on the web, offering users a drag-and-drop interface to construct anything they like, within the confines of a browser. 

This year has seen certain communities gravitate towards the site, with the new issue of poetry journal Pop Serial being built entirely on NewHive, and a visual mixtape featuring original tracks from a number of musicians launching in September. I'm interested in NewHive, and I like a lot of things that are made on it. I'm particularly interested in the alt lit community's attraction to it, perhaps because it is a convenient platform for people working with text to explore their practice in increasingly visual or hybrid ways. At the same time, I'm skeptical of its claim to be a "blank canvas," which obfuscates the aesthetic and political assumptions that it—that any cultural interface—reproduces.

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Rhizome Today

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welcome_plane.gif, excavated by Joel Holmberg (Geocities Research Institute's intern)
 
This is Rhizome Today for Tuesday, August 26, 2014
 
Rhizome Today is an experiment in ephemeral blogging: a series of posts that are written hastily in response to current events, and disappeared within a day or so. At the end of each month, we'll republish highlights from the series in a more selective and polished form. The latest post can always be found at http://www.rhizome.org/today.

 

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Hypertext and Destiny: This Twine Could be Your Life

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Screen shot from Closky's Do you want love or lust?

Your lover wants to move in, and you have a choice: you can say, "ok, I'll try it for a weekend and then we'll see" or you can "threaten to break up right now."

Then, your boss gives you a compliment. You can either: "say ironically, 'soon you won't be able to afford me,'" or "mentally calculate how much more you will ask him for."

You choose, you choose again, then you choose again. Each time, you are presented with another choice, an either/or. It's impossible to predict the outcomes that either decision might yield, but you choose carefully, expecting that each choice will shape your future path.

This is the sprawling question set of Claude Closky's 1997 Do you want love or lust?, an early web-based hypertext work that draws the user/viewer/player into what seems like a CYOA (choose your own adventure narrative). By making a choice—clicking love or lust—you enter a fictional, and emotional, space where you are the protagonist of this story.

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$500 (x5) for Artworks... on the Internet

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JODI, goodtimes, 1996
 
Through August 22, we're accepting proposals for FIVE internet art microgrants (alongside, of course, nominations for the first $10k Prix Net Art).

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Containers

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Allan Sekula and Noël Burch, still from The Forgotten Space (2010).

I woke up at the chime, looked at the mobile. New work available. I clocked in, made coffee, sat at the desk. Two hours of work right away, even before Twitter. Felt accomplished. I invoiced, and collected.

I met Sandra for breakfast. She's in Miami. She had the ceiling open to let in the sun. She got into a new task queue, editorial work. It's good work, she said, even though the pay isn't quite as good as advertising. What's the difference, I said, sipping my Bloody Mary. Different algorithmic authors, same algorithmic grammar problems.

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Trailblazers 7: Notes from the Game-Master

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Game-Master Dragan Espenschied oversees surfers in this picture from competitor Arjun Srivatsa

At Trailblazers 7, surfing was all about different ways that indexes and taxonomies are created and used, and about excellent airhorn-puncutated stadium pop provided by DJ Smart & Outgoing.

The competition took place yesterday at the Rockaway Beach Surf Club; given the use of a one-button mouse, no keyboard, and no back button, qualifying surfers in the competition were asked to navigate a "trail" from one website to another, only by clicking. Without the use of search engines, browsing the web requires careful thinking about how websites are organized and interconnected. Often, successful trail blazing involved navigating to some link-rich environment. Whether surfers found this in editorial content (like M. Hipley's heavy usage of the New York Times website) or in the rather unsorted universe of user contributions (like Nick DeMarco always heading straight to forums and comments), finding these "indexes" and understanding the ordering of material there was crucial for success.

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First Look: David Kravitz & Frances Stark

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Opening the Kimono by David Kravitz and Frances Stark is now on view as part of First Look, the New Museum's ongoing series of digital projects, which will now be co-curated and co-presented by Rhizome. Click here to view work.

David Kravitz and Frances Stark, Opening the Kimono (2014). iMessage conversation.

In a recorded iMessage chat, David Kravitz and Frances Stark satirize Silicon Valley culture and sext about creative labor.

When artist Frances Stark and Snapchat developer David Kravitz discussed the idea of having sex on stage during a public presentation at the New Museum last spring, it wasn't entirely surprising. 

This proposal came as part of Rhizome's Seven on Seven Conference, which pairs artists and technologists for a one-day collaboration with the prompt to "make something" and then present it to the public the following day. During their presentation, neither of their bodies was on view on stage (Kravitz came up alone for the Q&A). Instead, they appeared onscreen via a live iMessage conversation.

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The Dark Optimism of Otto Piene and Zero

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Detail of Otto Piene's Neon Medusa (1969).

Yes, I dream of a better world.

Should I dream of a worse?

 

Yes, I desire a wider world.

Should I desire a narrower? 

- Otto Piene, 1961

A dark gallery space is illuminated by a single ochre neon bulb, which initiates a choreographed lighting sequence comprising 449 additional bulbs, each attached with metallic arms to a central chrome orb. Neon Medusa (1969) by Otto Piene (1928-2014) evokes Sputnik and networks of cables, Cold War technological development and military communication and control, while also calling to mind constellations, Vegas casinos, and illuminated communities dotting a shiny globe. Its seeming exuberance seems incongruous with the anxieties of the nuclear age, and with the title—Medusa being the famously hideous woman of myth, who turned onlookers to stone if they stared into her face. Where the Medusa of Greek myth is the terrifying, deadly Other, Piene's piece is a different kind of Other, a technological Other, that invites our steady gaze.

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