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"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
In January 2012, its name was Penelope was included in the exhibition
Electronic Literature at the 2012 MLA Convention in Seattle.
An iPad edition is in press from Eastgate and will be available in 2012.
Notes on the Creation of its name was Penelope
Judy Malloy is a poet who works at the conjunction of
[
Reviews] The Roar of Destiny (1996) "...Malloy's most technically and visually sophisticated work for the web to date, while carrrying on her hallmark tradition of intense, compact writing" 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. ".... 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, Forward Anywhere, 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. website: Forward Anywhere Judy Malloy, "Authoring Systems", The Johns Hopkins Guide to Digital Media and Textuality, in press, 2012 Anna Couey and Judy Malloy, "A Conversation with Sonya Rapoport (on the Interactive Conference on Arts Wire)", in Terri Cohn, ed., Sonya Rapoport Retrospective, Berkeley, CA: Heyday Press, in press, 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, 2007. Judy Malloy, "Interactive Stories: Writing Public Literature in an Evolving Internet Environment", in Heide Hagebolling, ed., Narrative Dramatologies, Springer, 2004. Judy Malloy, "The Female Narrator" electronic book review, 2004 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 2004 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. Judy Malloy, "Hypernarrative in the Age of the Web", National Endowment for the Arts NEA arts.community, 1998
Judy Malloy and Sonya Rapoport,
Objective Connections
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 Judy Malloy, "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. GENID/NEME -- Gender and Identity in New Media Designed and hosted by Judy Malloy, this 1999 Panel was an experimental hybrid of online conferencing, hypertextual documents,and discussion archives created during the Invencao Conference, Sao Paulo, Brazil It was a semifinalist in the 1999 GII Awards Judy Malloy, "Between the Narrator and the Narrative" based on a talk presented at the Modern Language Association Conference, New York City, December 29, 1992 Judy Malloy, "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 Judy Malloy, "Uncle Roger, an Online Narrabase", Leonardo, 24:2, 1991, pp. 195-202 Judy Malloy, "OK Research, OK Genetic Engineering, Bad Information: Information Art Describes Technology", Leonardo, 21:4 pp 371-375, 1988 ">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 - 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 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. The 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. Art California - in partnership with the California Studies Association Women in New Media - the companion site for the MIT Press compendium Women, Art & Technology 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] |
Currently particpating in the Critical Code Studies Working Group 2012, Reading Code in Context, January 30 - February 20, 2012, and -- with Malloy and Rapoport, Obective Connections -- in Spaces of Life: The Art of Sonya Rapoport, Mills College Art Museum, through March 11, 2012
...unfolds in a series of central lexias, while an interface of phrases moves in a
visual/musical dance,
allowing access to the story at many points "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 "...looping in my mind,nested with brief dreams and nightmares..." Uncle Roger - 25th Anniversary: 1986-1911 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)
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. "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..." l0ve0ne, Cambridge, MA: Eastgate, 1994 As the World Wide Web became prevalent, the web environment, with its elegant HyperText Markup Language (HTML) and internationally available browser applications, made possible the creation of hypertext poetry and narrative. l0ve0ne was the first published hyperfiction on the World Wide Web. A polish translation of L0ve0ne -- k0cHack0g0s -- by Mariusz Pisarski and Zuzanna Grochulska, is available at http://www.techsty.art.pl/magazyn/malloy.htm "...In the eight months which we spent there, I filled one sketchbook with minutely detailed drawings...." Dorothy Abrona McCrae Narrabase Press, 2000 Included in the Hammer Museum Electronic Readings, Los Angeles, CA, 2002 Narrated by an 81 year old "Bay Area Figurative" painter, Dorothy Abrona McCrae is a lexia-based narrative 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. "...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 (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. 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
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!
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