"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)
"Nicely evocative ... the effect is remarkably close to the subjective
quirkiness of memory, of past moments floating unpredictably to the surface."
-- Richard Grant, Washington Post Book World
its name was Penelope,
Eastgate Systems, Cambridge, MA, 1993
Also reviewed in The New York Times,
American Book Review, Modern Fiction Studies, Postmodern Culture
and others; exhibited at The Space in Boston; and the Richmond Art Center.
its name was Penelope
was exhibited in
Electronic Literature and Its Emerging Forms at the Library of Congress, Washington, DC,
April 2-5, 2013; (curated by Dr. Dene Grigar and Dr. Kathi Inman Berens)
in Avenues of Access ....New "Born Digital" Literature,
at MLA 2013, the 128th Modern Language Association Convention, Boston, MA, January 2013;
and in Digital Stories of the 1990s:
A Look at Works from the Storyspace School with works by
Michael Joyce, Judy Malloy, Stuart Moulthrop, Shelley Jackson, Richard Holeton & more
on vintage Macs at Nouspace Gallery & Media Lounge, Vancouver, Washington, November 2-24, 2012.
A 2013 iPad edition of its name was Penelope
is in press from Eastgate
Judy Malloy is a poet who works at the conjunction of
hypernarrative, magic realism, artists books, and information
Judy Malloy on Twitter
Authoring Software, a resource for new media writing
about Judy Malloy
Judy Malloy Papers,
Rare Book, Manuscript, and Special
Collections Library, Duke University
CV (.pdf file)
Artists Books, Installations, Performances
Memories of Arts Wire
Memories of Art Com and La Mamelle
Remembering Judith Hoffberg
Anna Couey and Judy Malloy, "A Conversation with Sonya Rapoport
(on the Interactive Conference on Arts Wire)", in Terri Cohn, ed,
Pairing of Polarities: The Life and Art of Sonya Rapoport, Berkeley, CA: Heyday,
"Thoughts on the Publication of Pairing of Polarities", Authoring Software,
MIT Press has updated its website, including new pages for
Women, Art & Technology, edited by Judy Malloy
Art And Innovation, The Xerox PARC Artist-in-Residence Program edited by Craig Harris,
with papers by Judy Malloy and Cathy Marshall.
Women in New Media website now includes an extensive bibliography of books,
papers, dissertations and more.
".... a subtly worked epistolary text whose own concerns seem to take precedence over those of
the two individuals. Read forward or randomly, it both coheres and surprises."
-- Marek Kohn, The London Independent
Judy Malloy and Cathy Marshall,
Eastgate Systems, 1996.
A second edition is in progress.
This seminal email-created narrative weblog was produced during a residency at Xerox
PARC in Palo Alto in 1994. It was exhibited at PARC as part of the 25th Anniversary
Celebration and at Artemisia Gallery in Chicago. Readings from this work were at
The University of California at Davis and, as part of Wired Women, at Black
Oak Books in Berkeley.
The Roar of Destiny
"...Malloy's most technically and visually sophisticated work for the web to date,
while carrrying on her hallmark tradition of intense, compact writing"
Richard Kostelanetz, A Dictionary of the Avant-Gardes, Routledge
Described by interactivecinema.org as "...a perfect example of thought and physical
interaction working together... ", The Roar of Destiny is a hyperpoem constructed
with hundreds of intertwined lexias. A dense interface of links that lead to
fragmented story-bearing lexias, creates an experience of environment and altered
environment , and the reader, like the narrator, is involved in a continual struggle
between the real and the virtual.
The Roar of Destiny is included in the Boston CyberArts HyperGallery,
profiled in Interactive Dramaturgies;
(Heide Hagebolling, ed, Berlin, Heidelberg, Springer, 2004)
in A dictionary of the avant-gardes;
(Routledge, 2001) and in the 2000 Fraunhofer Net Art Guide.
It was also featured on the cover of Leonardo in 1996.
November 7-16, 2012 Judy Malloy's classic webwork
The Roar of Destiny exhibited in
Pulp to Pixels: Artists Books in the Digital Age
at the Hampshire College Gallery, Amherst, MA
Other writers, artists, and books include Amaranth Borsuk and Brad Bouse, Paul Chan, Johanna Drucker,
Collete Fu, Gretchen E Henderson, Paul Zelevansky, and 10 PRINT CHR$(205.5+RND(1)); : GOTO 10. (MIT Press)
Curated by Andrea Dezso, Steven Daiber, and Meredith Broberg.
"...The fact that the stories are interlinked creates the
feeling of not knowing exactly when they take place. Time is disordered,
there is no beginning or end -- it is like a collage...
Joan Campàs, Dichtung-Digital
"I tried to think about xmodem, ymodem, zmodem --
data transfer protocols lined up on a menu waiting for my choice
like equally alluring varieties of beer
chalked up on a blackboard menu
in a wood paneled bar overlooking the Potomac.
But all I could think of was the taste of German white wine
in green glasses on the table between us..."
, Cambridge, MA: Eastgate, 1994
A polish translation of L0ve0ne
-- k0cHack0g0s -- by Mariusz Pisarski and Zuzanna Grochulska, is available at
Judy Malloy, editor,
Women, Art & Technology, Cambridge, MA,
MIT Press, 2003 - "...A rich source of information
about the women and works that have made media arts history
-- or should. Not only is it a must-read but it is also a
must-have..." - Dene Grigar, American Book Review...
2012 edition: Women in New Media Website
Judy Malloy, "Authoring Systems", The Johns Hopkins Guide to Digital Media and Textuality,
Judy Malloy and Sonya Rapoport,
Objective Connections, Spaces of Life: The Art of Sonya Rapoport,
Mills College Art Museum, January 18-March 11, 2012
Documentation Artwork of our work, created for Generations: The Lineage
of Influence in Bay Area Art a celebration of the Richmond Art Center's
60th Anniversary, 1996
The Electronic Manuscript, Authoring Software, 2011
Judy Malloy, "Travels with Contemporary New Media Art",
Grantmakers in the Arts GIA Reader,
21:2, Summer 2010
Judy Malloy, "Creative Approaches to New Media",
in D. Kritt and L. Winegar, eds,
Education and Technology: Critical Perspectives
and Possible Futures, Lanham MD, Lexington Books,
Judy Malloy, "Interactive Stories: Writing Public Literature
in an Evolving Internet Environment", in Heide Hagebolling, ed.,
Narrative Dramatologies, Springer, 2004.
Judy Malloy and Cathy Marshall, "Notes on an Exchange Between Intersecting Lives",
In Search of Innovation - the Xerox PARC PAIR Experiment, Craig Harris, ed., Cambridge, MA:
MIT Press, 2000
"Narratives and Narrative Structures in LambdaMoo",
in Craig Harris, ed,
Art and Innovation - the Xerox PARC
Artist-in-Residence Program, Cambridge, MA MIT Press, 2000.
Lit [art] ure -- Something Old, Something New
a Round Table Discussion with Loss Pequeno Glazier; Judy Malloy,
Johanna Drucker; and Mark Amerika -- hosted by Jennifer Ley, Riding
the Meridian, v. 2, 2000.
"Hypernarrative in the Age of the Web",
National Endowment for the Arts NEA arts.community, 1998
Judy Malloy and Cathy Marshall, " Closure was Never a Goal in this Piece," in Lynn Cherny and Elizabeth Reba Weise, eds,
Wired Women: Gender and New Realities in Cyberspace , Seattle, WA, Seal Press, 1996 pp. 56-70
"Electronic Fiction in the 21st Century"
in Cliff Pickover, ed., Visions of the Future:
Art, Technology and Computing in the Twenty-First Century
St Martins Press, 1994
"Uncle Roger, an Online Narrabase", Leonardo, 24:2, 1991,
Brown House Kitchen on LamdaMoo at Xerox PARC
"Narratives and Narrative Structures in LambdaMoo",
in Craig Harris, ed,
Art and Innovation - the Xerox PARC
Artist-in-Residence Program, Cambridge, MA MIT Press, 1999.
">The Living Room
>It is very bright, open, and airy here, with large plate-glass windows
>looking southward over the pool to the gardens beyond. On the north
>wall, there is a rough stonework fireplace. The east and west walls are
>almost completely covered with large, well-stocked bookcases...
Pavel Curtis: the LambdaMoo Living Room
"..The result is a really new kind of collective composition, a new social way of making music
that didn't exist before. We have a good time." - Tim Perkis writing about
"The Hub", created in 1986 with fellow composer John Bischoff
Making Art Online
Early versions of Making Art Online were exhibited in Reflux,
(The Sao Paulo Biennial, Brazil, 1991) and published in the November 1, 1991
issue of FineArt Forum.
final version was first implemented as a website for the Center for Image
and Sound Research, (CSIR) Vancouver, B.C., Canada on their pioneeering ANIMA
website in the early days of of the World Wide Web in January of 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.
Spring Day Notation, (2010)
a song of
wildflowers on the trail, painting, and musical notation
Landscape Projects] [
Biography with Family and Photos]
Artists Books, Installations, Performances]
photos for the press]
New: The Program in American Studies and the Digital Humanities Initiative present the Fall 2013 Anschutz Symposium:
Social Media History and Poetics - Panelists: David Bellos, Judith Donath, Judy Malloy, Jeff Nunokawa, and Jim Rosenberg, Princeton University, December 2, 2013, 4:30 PM, 222 Bowen Hall. Free and open to the public.
Judy Malloy is Anschutz Distinguished Fellow in
for the Fall 2013 semester at Princeton University, where she is teaching a seminar in Social Media: History, Poetics, and Practice.
Works, videos and interviews by/with Shelley Jackson, John McDaid, Judy Malloy, and Stuart Moulthrop will be featured in
Pathfinders: 25 years of Experimental Literary Art
at the Modern Language Association 2014 Convention, Chicago, January, 2014.
Judy Malloy's epic work of public literature,
From Ireland with Letters, (2012-)
is included in the exhibition
Les littératures numériques d'hier á demain
Bibliothèque Nationale de France,
(Labo BNF) Paris, France thru December 1, 2013.
This summer at the
2013 E-Poetry Festival, Kingston University, London. June 17-20,
professors and researchers in electronic literature
addressed the practice and theory of electronic literature in the classroom in a June 17 pre-festival
Pedagogic Colloquium produced by poet and Kingston University Professor, Maria Mencia,
with presentations by
plus Serge Bouchardon, University of Technology of Compiegne, France; Jeneen Naji, National University of Ireland Maynooth,
Maya Zalbidea Paniagua, Universidad La Salle, Madrid
and much more.
- Leonardo Flores on teaching with ongoing scholarly blogging
- Judy Malloy (virtually) on Electronic Literature Authoring Systems
- Maria Mencia on "Theory as analysis and methodology in practice-based creative media"
- Talan Memmott on "Practice-based critical and cultural studies
- Kate Pullinger on "pedagogy in the field of where creative writing
In Press and due in 2014: Judy Malloy, "Authoring Systems", in
Johns Hopkins Guide to Digital Media, edited by
Lori Emerson, Marie-Laure Ryan, and Benjamin Robertson. Johns Hopkins University Press
...created in a polyphonic text structure, based partly
on the cadence of ancient Irish poetry:
From Ireland with Letters
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 Part VI of From Ireland with Letters
"armed only with remembered song"
Paths of Memory and Painting
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
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,
New: Beta2 of the
restored BASIC version of Uncle Roger
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 September, Uncle Roger (Art Com Electronic Network, 1986-1988) was documented in a two day series of interviews and readings produced by Pathfinders, a National Endowment for the Humanities funded ELO project to discover the reading experience of early digital literature. The project is led by Dene Grigar (Washington State University Vancouver) and Stuart Moulthrop. (University of Wisconsin Milwaukee)
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
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
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
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
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
"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
A text opera of magic realism in which metaphorical interference in the lives
of artists is disclosed with arioso, aria, and unfathomable
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;
"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