Making Art Online - 1991-1994
A Work of Information Art Conceived and Produced by Judy Malloy,
published on the website of the Walker Art Center
as a part of the traveling exhibition Telematic Connections: The Virtual Embrace, 2001
Making Art Online is a collection of artists statements about making art in the early telecommunications system era. Created by keying the artists' statements by subject into a database and generating a collaboratively written paper, it includes contributions from Scot Art, John Coate, Anna Couey, Pavel Curtis, Robert Edgar, Kit Galloway and Sherrie Rabinowitz, Carolyn Guyer, Michael Joyce, Roger Malina, Jeff Mann, Pauline Oliveros, John Quarterman, Howard Rheingold, Jim Rosenberg, Randy Ross, Sonya Rapoport, Fred Truck, and more

The Interactive Art Conference
The Interactive Art Conference was founded by Anna Couey & Judy Malloy on Arts Wire in 1993 and was an active forum for discussion and interviews until 1998.

...created in a polyphonic text structure, based partly on the cadence of ancient Irish poetry:
Judy Malloy, From Ireland with Letters (2012-) was displayed on the plasma screen at FILE 2012 - Electronic Language International Festival, Sao Paulo, Brazil, July 16 - August 19, 2012 and premiered at Judy Malloy: Retrospective, 2012 Electronic Literature Organization Conference, West Virginia University, June 20-23, 2012; Skype performative reading: Judy Malloy: 11 Works 12 Lexias.

Writer's Notebook for From Ireland with Letters

"armed only with remembered song"
Paths of Memory and Painting (2010)
featured at the UC Berkeley Center for New Media Roundtable, 2010, and exhibited at the Electronic Literature Organization Conference, Brown University, 2010

__Part I: where every luminous landscape (2008)
multiple paths through narrative ...a reading experience of successive text-paintings that chronicle the changes in a painter's work
short listed for the Prix poesie-media, France,
2009; featured at: The Future of Writing,
UC Irvine, 2008; Cover to Cover on KPFA radio
in Berkeley in 2008; and E-Poetry Festival,
Barcelona, 2009

New: Beta2 of the restored BASIC version of Uncle Roger
plus The complete Twitter log of the recreation of Uncle Roger
and images from the BASIC Uncle Roger

"...looping in my mind,nested with brief dreams and nightmares..."
Uncle Roger - 25th Anniversary: 1986-2011

In the spring of 1986, I was invited by my friend, video and performance art curator Carl Loeffler, to go online and write on the seminal Art Com Electronic Network (ACEN) on The WELL where ACEN Datanet, an early online publication, would soon feature actual works of art, including works by John Cage, Jim Rosenberg, and my own Uncle Roger.

Once in a while in a lifetime, everything comes together. In 1986, it was my experience in database programming, the idea I had been working on since 1976 of using molecular narrative units to create nonsequential narrative, the availability of personal computers that would make what I had been trying to do with "card catalog" artists books more feasible, and the arrival of ACEN, a place to create, publish and discuss the work.

Uncle Roger was released on ACEN in 1986 as a narrative intervention and published online as an interactive hypertext on ACEN Datanet in 1987. In 1987, I programmed an Apple II disk version using BASIC, which traveled internationally in a series of exhibitions. In 1987, Uncle Roger was included in Ultimatum II, Images du Futur '87. (Montreal) In 1988 it was exhibited at Tisch School of the Arts, New York University. And from 1988-1989, it was exhibited at San Jose State University, the University of Colorado, Ars Electronica, (Linz, Austria) Carnegie Melon University, and A Space. (Toronto)
notes on the creation of Uncle Roger

In 1989, Uncle Roger was honored with inclusion in the Centennial issue of The Wall Street Journal, and 25 years since Uncle Roger was released, a World Wide Web version is still available. and Beta1 of the 1986-1988 BASIC version of Uncle Roger is available for download.

"...In the eight months which we spent there, I filled one sketchbook with minutely detailed drawings...."
Dorothy Abrona McCrae
an electronic manuscript
Narrabase Press, 2000
Included in the Hammer Museum Electronic Readings, Los Angeles, CA, 2002

Narrated by a "Bay Area Figurative" painter, Dorothy Abrona McCrae is a lexia-based electronic manuscript in which the details of the narrator's life are intertwined with a past that is disclosed through descriptions of her work. The story is set in her studio/residence in the California Gold Country foothills. It was the first narrative in a series of works about the lives of Dorothy Abrona McCrae and San Francisco Gallery owner Sid Seibelman.

About Judy Malloy

In the twenty-five years since she first wrote Uncle Roger on Art Com Electronic Network, Judy Malloy has created an innovative body of new media narrative poetry that in hypertextual structures explores the lives of artists.

She strives for a poetic clarity, so that each lexia -- an idea developed in the handmade books -- transcends the computer screen and can either stand by itself or be combined in the reading or array to create a larger narrative.

Her work has been exhibited and published internationally including the San Francisco Art Institute; Tisch School of the Arts, NYU; Sao Paulo Biennial; National Library of Madrid; National Library of Portugal, Lisbon; Los Angeles Institute for Contemporary Art; Boston Cyberarts Festival; Walker Art Center; Hammer Museum, Los Angeles, CA; University of Arizona Museum of Art; Visual Studies Workshop; the Electronic Literature Organization; Universite Paris I-Pantheon-Sorbonne; Eastgate Systems; E .P. Dutton; Tanam Press; Seal Press; MIT Press; The Iowa Review Web, and Blue Moon Review, among many others. Parts of her recent work Paths of Memory and Painting have been exhibited or presented at the Berkeley Center for New Media Roundtable, the E-Poetry Festival at the Center of Contemporary Art in Barcelona, and the University of California Irvine, as well as short listed for the Prix poesie-media 2009, Biennale Internationale des poetes en Val de Marne.

Judy Malloy has also been active in documenting new media and is the host of Authoring Software, a resource for teachers and students. She has been an artist in residence and consultant in the document of the future for Xerox PARC, taught as Visiting Faculty in the Digital Media program at the San Francisco Art Institute and is a member of the Electronic Literature Organization's Literary Advisory Board.

As an arts writer, she has worked most notably as Editor of The New York Foundation for the Arts NYFA Current, (formerly Arts Wire Current) an Internet-based National journal on the arts and culture.

She believes that ideally print literature and new media literature; sequential literature and hypernarrative; painting and new media; are parallel art forms where writers and artists in each medium understand each other's vision and, as between poetry and fiction, sometimes move with ease between paper, canvas, and new media.

Her papers are archived as The Judy Malloy Papers at the David M. Rubenstein Rare Book & Manuscript Library at Duke University

"...remembering how Calvino and his fellow soldiers in the Italian Resistance fought the Nazis in the Ligurian Mountains. And at night they told stories around the campfire..."

Concerto for Narrative data Concerto for Narrative Data (2005-2008)

published in the The Iowa Review Web, 2008; also featured in the Centenary of Carmen Conde, Spain 2007; the 2006 FLEFF Film Festival, Ithaca, NY and The Rose Goldsen Archive of New Media Art at Cornell.

Overlapping conversations repeat as in an old round. In the warm sun the taste of champagne triggers memories and dreams.

A Party at Silver Beach (2003; 2012)

"As in the aftermath of a weekend houseparty near the beach -- where family, friends, and strangers appear, disappear and reappear in the summer afternoon sun, while the sound of the ocean rolling in and out intermingles with music and the sweet echo of wine glasses clinking together -- Dorothy and Sid's party is occurring and reoccuring in my mind. Overlapping conversations repeat as in an old round. In the warm sun, the taste of champagne triggers memories and dreams."

....if it is a time to divulge how with surveillance and systems of interference love has been stolen or diverted, it is also a time to reclaim true love. Unexpected guests, stories of the lives of Renaissance artists, the wedding celebration is underway. "
The Wedding Celebration of Gunter and Gwen ( (2006-2007)

A text opera of magic realism in which metaphorical interference in the lives of artists is disclosed with arioso, aria, and unfathomable recitativo
featured in Visionary Landscapes, the 2008 Electronic
Literature Organization International Conference Exhibition

Creating electronic literature with BASIC in the early days:
notes on the creation of Uncle Roger;
notes on the creation of its name was Penelope;
Wasting Time;
You!

about hyperfiction

"Malloy uses the fluidity of the hypertextual medium to create a poetic text, which, in spite of its fragmentation and discontinuity, leads to a reading experience that is very satisfying because it allows the reader greater creativity as to the form the reading will take. ...In Malloy's text, the visual is transformed into the verbal. The border between text and image dissolves, and image becomes the text." Jaishree K. Odin, Modern Fiction Studies (MFS)

"One of the promising things about the better hypertext poems like Judy Malloy's 'Its Name Was Penelope' is that it generates random pages that add up to fascinating patterns or allows readers to create their own narrative and connections as they go along. Every time you read it, it's a different story. The reader decides when the text is over. That's what a successful work of hypertext-based literature can do that paper-based writing can't: share power." - Jimmy Guterman, Chicago Tribune

"Penelope's compounded, disjunctive structure corresponds with and seems to arise from the narrator's restless splitting off of attention, under the opposed attractions of sexual and esthetic desire .....The analogy between the on-screen texts of Penelope and sequences of photographs prompts the reader's reflection up on the nature of each medium...the words of a text screen float on a motile surface, poised for instantaneous change into another, not fully predictable writing." - Barbara Page, Postmodern Culture

"...there is the exploration of evolving human relationships as in a Carolyn Guyer hypernarrative, the sheer pleasure of play as in John McDaid's many-roomed fun house, the revelation of character by randomly linked fragments as in a Judy Malloy hypertext; the possibilities are no doubt as rich and varied as in any other art form." - Robert Coover, The New York Times