It’s an honor indeed to announce that Judy Malloy, a true pioneer of hypertext and electronic literature broadly, has donated a set of floppies as well as documentation to the Media Archaeology Lab. To give you a sense of her contributions to the field, I’ve excerpted the following from her longer, more fascinating biography, on her website:
Her work as a pioneer on the Internet and in electronic literature began after cataloguing, designing and programming information systems in the late mid and late sixties, at the time when library information systems designers were among the first to utilize computers to access information, and futurists were envisioning their use in the humanities. She began creatively using narrative information in artists books in the late seventies and early eighties and then, with a vision of nonsequential literature, wrote and programmed Uncle Roger — one of the first (if not the first) works of hypertext literature — on Art Com Electronic Network in the Well. (1986-1988) In the following years, she created a series of innovative literary works that run on computer platforms and were published by Eastgate and on the Internet. In 1993, she was invited to Xerox PARC where she worked in CSL (Computer Science Laboratory) as the first artist in their artist-in-residence program. Judy Malloy created one of the first arts websites, Making Art Online, (1993-1994) originally commissioned in collaboration with the ANIMA site in Vancouver (CSIR/Western Front) and currently hosted on the website of the Walker Art Center. l0ve0ne, written and coded in 1994, was the first selection in the Eastgate Web Workshop. A complete collection of her papers and software is archived in the Judy Malloy Papers at the David M. Rubenstein Rare Book & Manuscript Library at Duke University.
Below is Malloy’s packing list of the works she has generously donated to the lab – I will soon test all the floppies and will add notes here as to their functionality. Enjoy and, as always, the MAL welcomes visiting researchers!
Disk labeled “molasses”
Malloy’s 1988 Hypercard Stack Molasses.
Judy Malloy, Molasses, Berkeley, CA, 1988. (for MacIntosh Computers HyperCard – produced at the Whole Earth Review under sponsorship of Apple Computers) – Exhibited in the traveling exhibition Art Com Software at Tisch School of the Arts, New York University, NYC, NY, 1988 and other places.
Judy Malloy, its name was Penelope, 1990.
This is probably a PC disk and an interim version between the 1989 exhibition version and the more formally packaged 1991 version, which was distributed by Art Com software.
Judy Malloy, its name was Penelope. Eastgate Systems, 1993
This was Eastgate’s first version, published on disk for both Macs and PCs. The disk is signed and actually says 1992. This copy was my Mother’s copy which is why there is a label that says Barbara Powers in it. Note that the pages in these early editions stuck together
Judy Malloy, Wasting Time, Penelope, Uncle Roger
It looks as if all three of these works are on the disk. It was probably a disk I used to send around the works for exhibition consideration and is probably a PC disk. Wasting Time was published as follows: Judy Malloy, “Wasting Time”, A Narrative Data Structure”, After the Book (Perforations 3) Summer, 1992.
Judy Malloy and Cathy Marshall, Forward Anywhere Eastgate Systems, 1996.
This is a disk version. It was published in both Mac and PC versions, but this is probably a PC version. A second version was published with a CD
James Johnson, Second Thoughts, 1989.
Distributed by Art Com Software. He sent me a couple of copies, and I gave the other one to my archives at Duke.
Bad Information Base #1
This is the first work of computer-mediated text that I created. Note that it is not the Bad Information Base #2 which was created ion ACEN later in 1986. Bad Information Base #1 is documented in Judy Malloy, “OK Research/OK Genetic Engineering/Bad Information, Information Art Defines Technology”, Leonardo 21(4): 371 – 375, 1988 It is explained in the May 1986 documentation in the folder. Basically, I made the database and then sent out cards to the mail art network. When the cards were returned, I ran a search and then sent a printout to the requester. In addition to a documentation sheet, the folder includes a blank search card, an envelope label (it was pasted on to the envelopes) a second edition envelope, a blank letterhead sheet, and a copy of the accordion fold list of keywords that was sent along with the card. I don’t have a disk of this work available, but Duke has printouts and a notebook with copies of the completed search cards.
A documentation sheet for A Party in Woodside, 1987
This was probably included with the 1987 version of A Party in Woodside which was self published and distributed by Art Com
An instruction booklet that was included in the packaging to the Apple II version of Uncle Roger which contained all three files. This version was probably published (self published by Bad Information) in 1988 and was distributed by Art Com.
Its name was Penelope
Documentation for the exhibition version.
A flyer advertising the version for the self-published (Narrabase Press) version that was available from Art Com.
Unassembled packing for the Narrabase Press version. The 3 pieces inside the watercolor paper folder are a cover, a back cover page and instructions. These pieces were pasted onto folder watercolor paper and a pocket that I constructed inside the folded watercolor paper contained a disk. An unassembled disk cover is also included. The whole when assembled was enclosed in a heavy clear plastic sleeve.
This folder contains a few Xeroxes or printouts of screens from Molasses, one of which has instructions for reading the work.
A documentation sheet for Wasting Time.