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

about Judy Malloy
Judy Malloy Papers, Rare Book, Manuscript, and Special Collections Library, Duke University
Reviews
CV
Artists Books, Installations, Performances
Memories of Arts Wire
Memories of Art Com and La Mamelle
Remembering Judith Hoffberg

Authoring Software, a resource for new media writing

".... 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

"...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.

"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
A polish translation of L0ve0ne -- k0cHack0g0s -- by Mariusz Pisarski and Zuzanna Grochulska, is available at http://www.techsty.art.pl/magazyn/malloy.htm

Judy Malloy, "Authoring Systems", The Johns Hopkins Guide to Digital Media and Textuality, in press, 2012

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

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, July 2012

Judy Malloy, 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, 2007.

Judy Malloy, "Interactive Stories: Writing Public Literature in an Evolving Internet Environment", in Heide Hagebolling, ed., Narrative Dramatologies, Springer, 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... website

Judy Malloy and Cathy Marshall, "Notes on an Exchange Between Intersecting Lives", in: In Search of Innovation - the Xerox PARC PAIR Experiment, Craig Harris, ed., Cambridge, MA: MIT Press, 2000

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, 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.

Judy Malloy, "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

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

Creating Brown House Kitchen on LamdaMoo at Xerox PARC
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.

">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.

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.

[ Landscape Projects] [ Biography with Family and Photos]
[ Artists Books, Installations, Performances]

Spring Day Notation, (2010) a song of
wildflowers on the trail, painting, and musical notation

Forthcoming::
Judy Malloy: Retrospective
at the Electronic Literature Organization Conference, June, 2012;
Judy Malloy, "Authoring Systems", Johns Hopkins Guide to Digital Media and Textuality (in press)
Recent:
Critical Code Studies Working Group 2012, sponsored by the USC-based Humanities and Critical Code Studies Lab.
New:
From Ireland with Letters has been selected for FILE 2012 - Electronic Language International Festival , Sao Paulo, Brazil, July 16 - August 19, 2012

...created in a polyphonic text structure, based partly on the cadence of ancient Irish poetry:
From Ireland with Letters (2012)
An epic poetic narrative that interweaves the stories of Walter Power, a County Waterford victim of the Cromwellian Conquest, who was sold as a slave in America in 1654, and his descendant, 19th century Irish American sculptor Hiram Powers, whose work played a symbolic role in the fight against African American slavery in America.
From Ireland with Letters will premiere at the 2012 Electronic Literature Organization Conference in June 2012 at West Virginia University

Writer's notebook for From Ireland with Letters

__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

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.

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

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.

"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