Judy Malloy | |
|---|---|
| Born | Judith Ann Powers January 9, 1942 |
| Alma mater | Middlebury College |
| Children | Sean Langdon Malloy |
| Parent(s) | Barbara Lillard Powers Wilbur Langdon "Ike" Powers |
| Relatives | Walter Powers (cousin) |
| Website | Well.com user page |
Judy Malloy (born Judith Ann Powers; January 9, 1942) is an American poet whose works embrace the intersection of hypernarrative, magic realism, and information art. Beginning with Uncle Roger in 1986, [1] Malloy has composed works in both new media literature and hypertext fiction. She was an early creator of online interactive and collaborative fiction on The WELL and the website ArtsWire.
Malloy has served as editor and leader for books and web projects. Her literary works have been exhibited worldwide. Recently she has been a Digital Studies Fellow at the Rutgers Camden Digital Studies Center (2016-2017) [2] and a Visiting Lecturer at Princeton University in Social Media Poetics (2013) and Electronic Literature (2014). [3]
Born in Boston a month after the attack on Pearl Harbor, Malloy was raised in Massachusetts. Her mother was a journalist and newspaper editor, and her father, a Normandy veteran, worked as an assistant district attorney in two Massachusetts counties and then as Chief Assistant US Attorney for Massachusetts. Malloy skied and played tennis, summering in New Hampshire, Cape Cod, and the Berkshires. Malloy felt an early calling to the visual arts and began painting and sketching as a child.
After graduating from Middlebury College with a degree in literature and work in studio art and art history, Malloy took a job at the Library of Congress; she also traveled in Europe. [4] In the next few years, while writing and making art, Malloy worked as a technical information specialist at the NASA contractor Ball Brothers Research Corporation, running their technical library and learning FORTRAN programming in order to identify relevant content for research. [4] Malloy moved to the East Bay in the mid 1970s and lived in Berkeley where, in addition to installations and performances, she developed a series of artist's books that incorporated non-sequential narratives driven by words and images. [4]
Her papers are currently being collected by the David M. Rubenstein Rare Book & Manuscript Library at Duke University. [5]
Judy Malloy has written electronic literature works for over three decades. [6]
In 1986, Malloy wrote and programmed Uncle Roger, the first online hyperfiction project with links that took the narrative in different directions depending on the reader's choice. This work was programmed in BASIC as a serial novel from 1986-1987, sold on floppy disks from 1987-1988 from Art Com Catalog and published on the web in 1995. [7] The Wall Street Journal mentioned Uncle Roger as the start of a future art form in their 1989 centennial publication. [8] Uncle Roger was a three-part hypertextual "narrabase" (narrative database) that used keyword searching (including Boolean operators) and appeared on Art Com Electronic Network on the WELL. [9] In 1995, Malloy moved this and other "narrabase" projects to the Web. [10]
Malloy's hyperfiction work its name was Penelope was exhibited in 1989 at the Richmond Art Center and published in 1993 by Eastgate Systems. [11] This work has been reconstructed "emulated" by The NEXT Museum, Library, and Preservation Space. [12]
Also in 1993, Malloy was invited to XEROX PARC as an artist-in-residence, where she developed Brown House Kitchen, an online narrative written in LambdaMOO. [13] Malloy then wrote l0ve0ne, published in 1994 by Eastgate Web Workshop as their first work. [14] Malloy created Making Art Online] in 1994. [15] One of the first arts websites, Making Art Online is currently hosted by the Walker Art Center.
The Yellow Bowl [16] was an early hypertext in BASIC in 1992 which has been reconfigured to be accessible on the modern Web. It contains about 800 nodes and has three narratives centering around Grace who is writing two fiction stories about women escaping oppressive environments. [17]
Forward/Anywhere:Notes on an Exchange between Intersecting Lives. Between 1993 and 1996, while working with PARC, Malloy and Cathy Marshall (hypertext developer) collaborated on this work, which was a hypernarrative based on emails between them in which they sought "to exchange the remembered and day-to-day substance of our lives". [18] They wrote an article, "Closure Was Never a Goal in this Piece", in the book Wired Women which documented their experiences working on this project. Malloy wrote of this project that it was aa response to Xerox PARC's artist-in-residence program. This early work experimented with reader interaction, with "Forward" using hypertext links and Anywhere using a random number generator to present pieces in a random order.Women, Art, and Technology [19]
Other Hypertext fiction includes
lOveOne, 1994
The Roar of Destiny, 1997
Dorothy Abrona McCrae, 2000
A Party at Silver Beach (2003; 2012)
Spring Day Notation, 2010
Emanated from the Refrigerator
In 1988, Malloy became the coordinating editor of FineArt Forum, under the Leonardo publishing umbrella, and developed F. A. S. T. (Fine Art Science and Technology), a resource on the Whole Earth 'Lectronic Link (The WELL) bulletin board. [20] Malloy was the initial editor of Leonardo Electronic News, 1991–1993, now Leonardo Electronic Almanac . [21] For Leonardo, she worked to make the work of new media artists more visible, creating the artists' "Words on Works" (WOW) Project, published in Leonardo Electronic News and Leonardo .
Malloy worked for Arts Wire, a program of the New York Foundation for the Arts (NYFA) from its early origins in 1993. She began serving as editor of the online periodical Arts Wire Current in March 1996. [22] She continued as editor through the periodical's name change to NYFA Current in November, 2002, until March 2004. [23] [24]
Malloy edited Women, Art & Technology (MIT Press, 2003), [25] as part of the Leonardo book series documentation of the central role of female artists in the development of new media. The book lays out a historical outline of the female influence in art and technology including papers written by notable members of the field. She is also the editor of content | code | process (formerly called Authoring Software), [26] a website of resources related to the authoring tools used for hypertext and other forms of database-driven writing. Her most recent work is the 2010 new media poetry trilogy Paths of Memory and Painting, [27] the first part of which appeared in 2008 under the title where every luminous landscape.
Malloy edited the July 2016 MIT Press book, Social Media Archeology and Poetics. [28] Chapter 31. A Way Is Open: Allusion, Authoring System, Identity, and Audience in Early Text-Based Electronic Literature [29] As she describes this work, "Social Media Archeology and Poetics is media archeology about how social media platforms with cultural components were developed and flourished in the days before the World Wide Web." [6]
Her work has been exhibited and published internationally including the 2008 Electronic Literature Conference, San Francisco Art Institute, Tisch School of the Arts, New York University, São Paulo Art Biennial, the Los Angeles Institute for Contemporary Art, Boston Cyberarts Festival, the Walker Art Center, Visual Studies Workshop, Berkeley Art Center, Finger Lakes Environmental Film Festival, Centenary of Carmen Conde, Cartagena, Spain, Istanbul Contemporary Art Museum and the Hellenic American Union in Athens, Houston Center for Photography, Richmond Art Center, San Antonio Art Institute, A Space, Toronto, Canada, National Library of Madrid, Eastgate Systems, E. P. Dutton, Tanam Press, Seal Press, MIT Press, The Iowa Review Web, and Blue Moon Review. Malloy's where every luminous landscape (2008) was exhibited at The Future of Writing, University of California, Irvine, November, 2008 and the E-Poetry Festival, Barcelona, May, 2009. In May 2009 it was a finalist in the prix poésie-média 2009 hosted by the Biennale Internationale des poetes (BIPVAL) in Val de Marne, France. [30]
Malloy was shortlisted for the 2017 Hayles Prize Social Media Archeology and Poetics, MIT Press, 2016.
Hypertext fiction is a genre of electronic literature, characterized by the use of hypertext links that provide a new context for non-linearity in literature and reader interaction. The reader typically chooses links to move from one node of text to the next, and in this fashion arranges a story from a deeper pool of potential stories. Its spirit can also be seen in interactive fiction.
Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.
Shelley Jackson is an American writer and artist known for her cross-genre experimental works. These include her hyperfiction Patchwork Girl (1995) and her first novel, Half Life (2006).
Electronic literature or digital literature is a genre of literature where digital capabilities such as interactivity, multimodality or algorithmic text generation are used aesthetically. Works of electronic literature are usually intended to be read on digital devices, such as computers, tablets, and mobile phones. They cannot be easily printed, or cannot be printed at all, because elements crucial to the work cannot be carried over onto a printed version.
afternoon, a story, spelled with a lowercase 'a', is a work of electronic literature written in 1987 by American author Michael Joyce. It was published by Eastgate Systems in 1990 and is known as one of the first works of hypertext fiction.
Patchwork Girl or a Modern Monster by Mary/Shelly and Herself is a work of electronic literature by American author Shelley Jackson. It was written in Storyspace and published by Eastgate Systems in 1995. It is often discussed along with Michael Joyce's afternoon, a story as an important work of hypertext fiction.
Jane Yellowlees Douglas is a pioneer author and scholar of hypertext fiction. She began writing about hypermedia in the late 1980s, very early in the development of the medium. Her 1993 fiction I Have Said Nothing, was one of the first published works of hypertext fiction.
Stuart Moulthrop is an innovator of electronic literature and hypertext fiction, both as a theoretician and as a writer. He is author of the hypertext fiction works Victory Garden (1992), which was on the front-page of the New York Times Book Review in 1993, Reagan Library (1999), and Hegirascope (1995), amongst many others. Moulthrop is currently a Professor of Digital Humanities in the Department of English, at the University of Wisconsin–Milwaukee. He also became a founding board member of the Electronic Literature Organization in 1999.
Eastgate Systems is a publisher and software company headquartered in Watertown, Massachusetts, which publishes hypertext.
Cathy Marshall is a Principal Researcher in Microsoft Research's Silicon Valley Lab and an author of electronic literature. She is affiliated with the Center for Study of Digital Libraries at Texas A&M University. She has led a series of projects investigating analytical work practices and collaborative hypertext, including two system development projects, Aquanet and VIKI. Marshall is mainly interested in studying human interaction when mediated by technology. From her early experiences with hypertext, Marshall discovered the negative effects of having analysts work with formal representation. Marshall learned that information which does not fit in formal representation gets lost as people try to force it into this area. Cathy has a 20-year history working with hypertext.
Deena Larsen is an American new media and hypertext fiction author involved in the creative electronic writing community since the 1980s. Her work has been published in online journals such as the Iowa Review Web, Cauldron and Net, frAme, inFLECT, and Blue Moon Review. Since May 2007, the Deena Larsen Collection of early electronic literature has been housed at the Maryland Institute for Technology in the Humanities.
Antoinette LaFarge is a new media artist and writer known for her work with mixed-reality performance and projects exploring the conjunction of visual art and fiction.
Marjorie Coverley Luesebrink was an American writer, scholar, and teacher. Writing hypermedia fiction under the pen name M.D. Coverley, she is best known for her epic hypertext novels Califia (2000) and Egypt: The Book of Going Forth by Day (2006). A pioneer born-digital writer, she is part of the first generation of electronic literature authors that arose in the 1987–1997 period. She was a founding board member and past president of the Electronic Literature Organization and the first winner of the Electronic Literature Organization Career Achievement Award, which was named in her honor. Lusebrink was professor emeritus, School of Humanities and Languages at Irvine Valley College (IVC).
Dene (Rudyne)Grigar is a digital artist and scholar based in Vancouver, Washington. She was the President of the Electronic Literature Organization from 2013 to 2019. In 2016, Grigar received the International Digital Media and Arts Association's Lifetime Achievement Award.
Francesca da Rimini is an Australian artist. With Josephine Starrs, Julianne Pierce, and Virginia Barratt she co-founded VNS Matrix, and the four artists coined the term cyberfeminist in 1991 to describe their art practice. Da Rimini has been working in new media since 1984.
Richard Holeton is an American writer and higher-education administrator. Holeton's creative works are foundational in the hypertext and electronic literature genres. As a writer, his most notable work is the hypertext novel Figurski at Findhorn on Acid, which has been recognized as an important early work of electronic literature and is included in the hypertext canon.
Figurski at Findhorn on Acid is a hypertext novel by Richard Holeton published on CD-ROM by Eastgate Systems in 2001 and republished on the open web by the Electronic Literature Lab, Washington State University, in 2021. Re-Imagined Radio presented a radio interpretation of this novel in 2022 in which Holeton made an appearance. It is a work of interactive fiction with various paths for readers to choose from, an early example of electronic literature, and one of 23 works included in the literary hypertext canon.
King of Space is a work of electronic literature by author Sarah Smith. This interactive narrative is set in a collapsing solar system aboard an abandoned starship, where an escaped terrorist encounters the last star-captain and his ship's Priestess. The story weaves elements of gaming into a dark science-fictional ritual of fertility and regeneration.
Its Name Was Penelope is a hypertext fictional story created by Judy Malloy and published in 1993 by Eastgate Systems. The work makes use of digital elements such as randomized passages to tell the story of the main character's life.
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