Poetry as Practice: Penny Goring

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Penny Goring, DELETIA – self portrait with no self, 2015 (screenshot). Web-based poem with audio and video. Courtesy the artist.

Part of First Look: Poetry as Practice, copresented with the New Museum.

DELETIA – self portrait with no self (2015) is a seventy-plus-page epic created on the web platform NewHive that includes, among other things, an original font produced by Goring named "Hell Lobster"—a mix of Helvetica and lobster.

This is the second of six new works released as part of the online exhibition "Poetry as Practice," which considers online poetry as a bodily, social and material process. Last week, the exhibition began with Alex Turgeon's Better Homes and Gardens Revisited; it continues next week with work by Tan Lin.

Penny Goring lives in London.

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First Look: Poetry as Practice

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In this online exhibition, six poets approach internet language as a bodily, social, and material process. 

New poetry works will be published every Monday through April 6, 2015. Co-presented by Rhizome and the New Museum as part of the First Look exhibition series; curated by Harry Burke.

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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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