on sport, women, academia, access, & daily affirmation

Thank you, sincerely, to Erin Wunker and Hook and Eye for giving me this opportunity to write out how much sport has meant to me over the years, as both a woman and an academic. 

*

I thought I was going to use this much appreciated opportunity to write out some kind of overarching argument for the importance of the intersection between athletics and academics, particularly for women. But as I’ve thought about this issue over the last month, it turns out I can’t in good conscience make this argument at all as women still, by far, undertake the majority of both service work in the university workplace and caretaking at home, a dreary and undebatable fact that means I’d be truly wrapped up in my own privilege if I were to say, “hey all you women, you really need to try training for something on top of all the other duties and responsibilities and drains on your time! I mean, it’s really great and you’ll feel good about yourself!” It is great. And it does make you feel good about yourself. But the time I’ve spent as a competitive cyclist and now runner/occasional triathlete have shown me how the barriers to participation, let alone access, are still very high. I’ll return to this point toward the end of my post but to explain how I’ve come to this point, I’m afraid I need to indulge in some autobiography about my history as an athlete.

I’ve always been active and in love with running around and doing things, whether kicking or catching a ball, riding my bike on dirt or on roads, running around a track, or running on trails. But I always did these activities without any support network, with no understanding of training or technique or even nutrition, and – with the exception women like Missy Giove that I’d see in glossy magazines – with almost no role models. This isn’t surprising considering I grew up in the 70s and 80s, on what was then the isolated world of Vancouver Island. Still, I had this lurking belief I could be good at sport – that I was capable and strong, even if there was no real evidence for this belief.

Maybe it’s no coincidence my history as an academic followed a similar path, guided by my belief that maybe I could do this thing even if no one else around me thought one way or the other. So, after a few nerve-wracking years as a perpetually insecure, workaholic PhD student, I decided I’d try to build up my self-confidence from having almost none to, hopefully, at least having some. I started by coming up with an arbitrary amount of body fat I wanted to get down to at the local gym (incredibly, my personal life remained completely divorced from the work by Susan Bordo I was teaching at the same time), moved on to trying to do a sprint triathlon, and then – when we moved to Boulder, Colorado – trying what was for me the most intimidating of all: road bike racing.

I threw myself into training and racing road bikes for five years and, for those years, the sport gave me everything I was missing in the academic workplace. I wanted community, friends and connection and I found these things in spades, especially as a beginning Cat 4 racer. These women I trained and raced with, week in and week out for months at a time, were incredible – we pushed each other harder than we thought was possible; we learned together; we cheered each other on; we suffered together. It was a remarkable experience, especially compared to the profoundly isolationist and individualistic culture of academia. Those years racing and training also made me a more interesting person, one who became capable of talking with lawyers, accountants, physiotherapists, marketing managers, and sales associates. Not only did I learn about and engage with communities outside of academia but I also developed a more expanded sense of where exactly I stood in relation to my local and global community. It’s such an obvious revelation, that existing only in a university environment makes one uni-dimensional. It’s also obvious one cannot and should not work as many hours a day and days a week as one can hack. But somehow, academia – largely made up of type-A personalities who cannot stop striving seven days a week because of the lack of clear work-life boundaries – makes access to these obvious revelations very difficult.

I quit training and racing road bikes a couple years ago when I realized I’d achieved the goal I’d set out for myself (all I wanted was to become a Cat 2 racer, because somehow, narrowly, I thought that would mean I could finally tell myself I was “good” at this sport) and I was finding the 15 hours of training a week onerous rather than empowering. But still, the act of training taught me one lesson in particular that still hasn’t left me: the value of having clear and bounded goals coupled with an acceptance of what I have today, who I am today, instead of who I could be or would like to be or should be. Instead of the quiet but ever-present pressure in academia to continually work and produce, without rest and very often without end and without any clear indication of success (when is our work ever done? If you work for five years or longer to write a book and then wait a year and a half, sometimes two years, for the book to come out and be read by so few people, where is the triumph?), bike training presented me with the daily challenge to complete this set task, in this particular manner, in this set amount of time. Daily I’d ask myself, “Can I do this thing? Even though I’m tired? Even though I don’t feel great and even though I don’t have a lot of time? Can I push my body that hard? Can I finish the workout?” And very often the answer turned out to be “Yes, I can show up only with what I have to give today and yes, I can do this thing!” Eventually, the tiny, daily acknowledgements of what I had to give, given the circumstances of the day, turned into tiny, daily triumphs and then these triumphs came to influence both the way I go about my work as an academic and the way I think about my worth. Eventually, I came to ask myself, “Can I write 500 words today? Can I teach my classes with the knowledge and the energy I have today, rather than what I would like to have? Can I do this work in this two hours I have, before I spend time with my husband or my friends, rather than the eight hours I wish I had?”

All I have to offer here are my personal revelations about why my personal and professional life would be so much less if it weren’t for sport. I especially can only speak for myself here, as I’m reminded of the day I showed up for my first cat 2 race and I saw only women who were either professional bike racers or women who were retired or women whose children were now in college or women who were fortunate enough not to have to work at all. It’s a tremendous privilege to have the time and the resources I have to train, to hire a coach, to travel to races, to set goal race times and so on. I know countless women who are tremendously gifted athletes but who cannot possibly add training to their already nearly impossible schedules involving work, committee meetings, student supervision/mentoring, not to mention their own childcare and housework responsibilities. I only wish we could find a way not so much to say, “You can do it! You can train for that event and compete in that race!” but rather, “We value your health, happiness, and sense of well-being! We support a shorter work week and after-school child care! We support a more even distribution of childcare and service responsibilities across genders!” Then imagine what women could accomplish.

 

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workshop // Othernet, Alternet, Darknet

Once more, thank you very much for inviting me to talk with you about “Other Networks” and give a workshop on “Othernet, Alternet, Darknet // the Past, Present, and Future of Alternate Networks.” In preparation for today’s workshop I suggested you read “Against the Frictionless Interface! An Interview with Lori Emerson” and “What’s Wrong With the Internet & How to Fix It: An Interview with John Day.”

Before I build on these readings with a more extensive discussion of TCP/IP, I would like to discuss what it currently means to be on the Internet for many people and then show you a couple tools that make it alarmingly clear the way in which profit and capital saturates every single one of our clicks online. To that end, I’d like you to download a couple revealing extensions to your Chrome browser and/or an add-on to your Firefox browser to clearly visualize what’s happening when you’re on the web ; I use both browsers so I encourage you to download both but it’s also fine if you just want to play with one

  • open up Firefox and install Lightbeam – an add-on that “shines a light on who’s watching you” by way of interactive visualizations that show you the first and third party sites you’re often unwittingly interacting with on the web
  • now open up Chrome and install Disconnect – a browser extension that stops major third parties from tracking the webpages you go to
  • have any of you used these tools before? anything revealing or surprising?

Now I’d like to talk about alternatives to the current structure of the Internet, beginning with a brief overview of how TCP/IP itself could have been different (picking up the interview with John Day), leading to a different present-day Internet, and then moving on to contemporary projects and platforms you might use to get off or disrupt the Internet. I will touch on the following:

  • how thinking about the past and present of networks could be a way to imagine the future of our connected lives
  • how excavating the knowledge/power structures underlying TCP/IP can denaturalize that monolith “the Internet” and help us think about how the Internet could be otherwise. In particular, I discussed:
    • how TCP/IP was created to benefit the free market, not necessarily to exemplify democratic ideals of freedom and openness
    • the result of intense, complex political wrangling between communities of engineers, industry workers, and representatives who were almost uniformly white, middle class men often from the same school or neighborhood
    • how the protocol is based on concepts of blackboxing and layering taken from the design of operating systems rather than networks
    • how there were and still are alternatives to TCP/IP such as RINA that could potentially make the Internet work better than it currently does

figure2

With this groundwork, I would like to use the rest of the workshop to think as expansively, broadly, and imaginatively about what an alternative Internet might look like – one that we built ourselves, imagining for the moment that we can build whatever structure we dream up.  Here, then, are some contemporary examples of Other Networks I would like you to explore and/or experiment with:

  • Netless, created by Danja Vasiliev
  • Alternet, created by Sarah T. Gold
  • Firechat, created by Open Garden
    • create an account, see if you can find the #OtherNetworks chatroom I created, and start talking to each other
  • PirateBox, created by David Darts
    • if there’s time, I will demo a PirateBox I built to prove to you that even the most inept Internet user can do it
  • Tor, created by the United States Naval Research Laboratory and DARPA
    • read my notes and warnings below, download Tor, and try accessing the links I include below

Because Tor has become synonymous with criminal activity, for the sake of educating you, here is a bit more on what Tor is and why you might like to use it. Tor is primarily a privacy network that allows you to access the surface Internet without being tracked; it also allows you to access the deep web/darknet – any site or material that’s on the Internet but not indexed by search engines; keep in mind that most of the deep web/darknet is dedicated to innocent forums, blogs, essays and so on; because of the protection it offers, the darknet is attractive to activists in oppressive regimes as well as government agencies.

Why use Tor? While the Tor browser will work much slower than Chrome or Firefox, if you value privacy or if you would like to find a way to circumvent the online tracking we discussed earlier, you might like to give it a try. You might also give it a try if you would like to become a more informed, more active Internet user.

Some warnings:

    • not surprisingly, Tor does not guarantee perfect anonymity; if you don’t use a Virtual Private Network in addition to Tor, people can still see you’re using Tor even if they can’t necessarily see what sites you’re visiting; hopefully it goes without saying that you shouldn’t use a university VPN – instead consider purchasing the very inexpensive IPVanish and take a look at tips here and here to understand better how VPN works with Tor
    • don’t Torrent over Tor and especially don’t use BitTorrent and Tor together
    • according to the Tor website, avoid opening  .doc and .pdf documents while on Tor as there seems to be a way to reveal your IP address once you do this
    • try to use HTTPS versions of websites; Tor encrypts your traffic to and within the Tor network but to ensure encryption at your final destination, try to also use the HTTPS Everywhere extension
    • to make sure you’re not tracked down if you inadvertently visit a website that’s criminal in nature, turn off scripts and plugins in the Tor options (according to their website, you do this by clicking the button just before the address bar).
    • be very cautious about clicking on links on Tor – try to only use known directories to reach authenticated destinations.

Here are a very few safe Tor links that have worked for me:

  • search engine TORCH at http://xmh57jrzrnw6insl.onion/
  • search engine DuckDuckGo at http://3g2upl4pq6kufc4m.onion/
  • the first issue of a Tor-hosted literary journal, The Torist (pdf) at http://toristinkirir4xj.onion/issue1.pdf
  • and, surprisingly, Facebook! at https://www.facebookcorewwwi.onion

If you’d like to continue thinking about these issues post-workshop, one place to start is to think about the repercussions of the underlying structure of the Internet – especially in the context of how the structure might create a certain power dynamic that excludes (women, minorities, underprivileged communities, those who are less technically savvy) more than it includes. Questions I’ll leave you with:

  • What does a cooperatively owned Internet look like and why might we want one? If you need help getting started, consider checking out Platform Cooperativism.
  • What does a non-profit, non-commercial network look like?
  • What does a feminist network look like? Can the Internet be feminist? These 15 “Feminist Principles of the Feminist Internet” might help you get started.  You might also like to look at this interview with Jac sm Kee who has been deeply involved in the Association for Progressive Communication’s (APC) Women’s Rights Programme; Kee states that “to start, a feminist Internet is one where everyone has universal, equal and meaningful access to an open and transformative Internet to enable the exercise of all of our rights, to play, to create, to form communities, to organize for change, in freedom and pleasure.”

grad seminar + book project: theory & practice of doing, from DH to PH

At the same time as I keep working on “Other Networks” (a history of telecommunications networks that existed before or outside of the Internet), I’m pleased to announce I’ve also started working on another multi-part project – a graduate seminar and a book project – that has everything to do with the thinking and doing I’ve done over the last five years on the Media Archaeology Lab, on why I founded it in the first place, what discourses and practices I hope it intervenes in, and on what I hope it will become. While I’ve given probably twenty talks around the world on the lab and written a handful of short pieces on it, until now I haven’t had the chance to fully theorize the lab’s philosophy as well as its place in relation to other arts/humanities media labs as well as Digital Humanities labs.

To that end, starting this week, I am teaching a graduate seminar called “Theory & Practice of Doing // From the Digital Humanities to the Posthumanities.” Our course begins with a classic text, C.P. Snow’s The Two Cultures from 1959, to make clear the longstanding, perceived gulf between the sciences and the humanities and the resulting anxiety the humanities have had about how to advocate for their worth. Jump ahead fifty years and suddenly we’re in the midst of he digital humanities as well as various other media studies practices that have made their home in the humanities. Now, the anxieties are perhaps more about the displacement of traditional humanities work, not by the sciences but by a new humanities that’s inflected by scientific practice and, at times, a “spirit” of entrepreneurialism that’s particularly associated with the tech/startup world. We then move from Snow’s text to an overview of the state of the profession in the 21st century, focusing specifically on the ramifications of doing collaborative, interdisciplinary, project-based, hands-on work that engages with or relies on digital media in the humanities. This first part of the course then gives way to the second part, in which we explore more deeply a series of interconnected questions. What does it mean when humanists start placing “doing” at the center of their research agendas? What does it mean to do hands-on work in a digital humanities lab versus a media archaeology lab or a makerspace or a hackerspace? Are these scholars or practitioners appropriating the trappings of scientific labs for the sake of cultural capital or are they in a unique position to critique not only the way labs are often hierarchical, closed structures built around single individuals but also the way the data generated by these labs is too often seen as neutral or necessarily, timelessly true? Can 21st century hands-on work actually work not only to finally close the divide between “the two cultures”, science and humanities, but can it also work to displace the longstanding anthropocentrism at the heart of the humanities? You can see our schedule of weekly readings here.

The second project I’ve started working on with my esteemed colleagues Jussi Parikka and Darren Wershler is a collaboratively written book called THE LAB BOOK: Situated Practices and accompanying website (we haven’t launched it yet but the url will be whatisamedialab.com). In the book, we will provide a critical genealogy of the notion of the media and humanities lab as well as an exploration of some of the affordances labs can offer for the humanities – or the posthumanities – in the 21st century. The project offers a more detailed account of the media lab’s potential to open up new possibilities for thought and action in the present. Besides discussing Digital Humanities, we draw extensively on our own areas of expertise. Sections of the project will focus on sites such as the Berlin Humboldt University Media Archaeological Fundus, and my own Media Archaeology Lab. Other sections will describe the history of the Canadian Film Centre (CFC) Media Lab, the first of its kind in Canada. CFC Media Lab survived until the exact moment that universities started to duplicate it. Since CFC could not grant degrees, it promptly became a startup incubator program so it would produce more revenue than the constant stream of professional artists that were its traditional constituency. This history demonstrates once again the imbrication of creativity, innovation and monetization in the realm of media labs; it also offers an alternative way to investigate what a lab could mean as a cross-section of work in education, theory and critical practice.

While the book will thoroughly document and explicate this significant cultural force, the website will deliver a synchronic overview of contemporary media labs, mostly via interviews. If you take a look at the syllabus for the graduate seminar, you’ll see that graduate students will participate in interviewing people who have played or are playing a significant role in arts/humanities labs and we’ll post these interviews on whatisamedialab.com. Not only is the first time I’ve written a book with two other scholars, but this is also the first time I’ve had the chance to invite students to participate directly in a scholarly project.

I’m looking forward to posting links to interviews as well as updates on the book and website.

guidelines for working with PhD students

In the interests of both making sure that I can be of most use to the PhD students I work with and taking control of a key aspect of my professional life – my work as a mentor or a member/director of students’ dissertations – I’ve decided to post some guidelines I’ve come up with for any students who are considering working with me. I’m currently putting together my application for tenure this fall – an exercise that has given me the chance to reflect on my career over the last six years and on how much I concern myself with the intellectual life of the students I work with. More, I’ve realized that any experiences I’ve had working as a mentor or committee member that are less than completely rewarding are not because of the students I’ve worked with – they are because I have failed to make it clear what I can and cannot offer and I have not spelled out my expectations. And while it’s frustrating to realize that I am my own source of frustration, I’m relieved I might now be able to take better responsibility for an aspect of my job that I value so much. So, here goes:

  1. I ask that you send me drafts of each of your chapter as you write them. This is so that I have a chance to be involved, if only minimally, in shaping your dissertation. While I won’t burden you with too much feedback and I will try not to impose my point of view on you, I also cannot, in all good conscience, give your dissertation a rubberstamp of approval. I also need to know that I have relevant expertise for the project you’re undertaking.
  2. I ask both that we meet once a semester – perhaps more, but once every 4-6 months is a minimum – and that you initiate the scheduling of our meeting. The meeting might only be 15 minutes long or it might be a half hour to an hour long. The point is to let me know what you’re working on, the progress you’re making, and whether I can help move your work along in any way. I will also use these meetings as an opportunity to introduce you to the profession and think about what conferences you might attend or present at, what journals you might consider submitting to, what professional organizations you might get involved with, and perhaps how you might develop your online presence.
  3. I ask for two to three weeks to read over your work and respond, either in writing or in person.
  4.  If you need a recommendation letter, I’m more than happy to oblige if I’ve had the chance to read your writing beforehand and if I’ve also been able to get a sense of you as a professional. If you need a recommendation letter for a job, ideally you’ll give me two months’ notice so I can make sure I draft as strong a letter as possible. To be honest, more than two months would be wonderful but I understand that might be unrealistic. But again, I can only write this glowing letter if I’ve had a chance to get to know you and your work. It would also be helpful if you’d let me know what you would like me to highlight in your letter.
  5. I never want you to feel obliged to follow any piece of advice I give you but I do ask that you seriously consider my suggestions. If I can’t be useful to you, it makes the most sense for you to seek out a different mentor or committee member.
  6. Finally, if I’m a committee member and your dissertation chair has different ideas about the writing/revising/submitting process, please let me know so I can adjust my own expectations.

Implicitly, these guidelines mean two things: first, you can expect from me consistent feedback, suggestions for direction with your intellectual project, recommendation letters, and advice on professionalization. And second, if at any time one of us cannot meet our obligations, the relationship can and should be dissolved. If I am not the right person for you to work with, I certainly don’t want you feeling obliged to continue working with me for fear I will be angry or hurt. Boundaries are blurry between the personal and the professional in academia, but I do strive to make sure that I am the best possible mentor for you by maintaining a professional, rather than personal, relationship.

Feedback welcome!

from typewriters to telematics, media noise in Robert Zend

I’ve recently started working on my next book project, at the moment titled “OTHER NETWORKS,” which will be a history of pre-Internet networks through artists’/writers’ experiments and interventions. My last book, Reading Writing Interfaces, begins and ends with a critique of Google and magic, or sleights-of-hand that disguise how closed our devices are by cleverly diverting our attention to seemingly breathtaking technological feats. And so the roots of “OTHER NETWORKS” come partly from my desire to continue thinking through the political consequences and the historical beginnings of “the Internet” as the technological feat of the late 20th and early 21st centuries which also, as another instance of the user-friendly, disguises the way in which it is a singular, homogenous space of distributed control.

Still, despite the continuity between Reading Writing Interfaces and “OTHER NETWORKS,” I am continually surprised by the way in which thoroughly print-based, analog writers also participated in telematic art/writing experiments (here I’m using ‘telematics’ for the process of long-distance transmission of computer-based information via telecommunications networks). For example, I’ve decided to begin my project by writing on early Canadian art/writing networks for Social Media: History and Poetics, an edited volume by Judy Malloy. Judy kindly directed me to Norman White’s “hearsay” from November 1985, which was a tribute to Canadian poet Robert Zend who had died a few months earlier. The project builds on the following text Zend wrote in 1975:

THE MESSAGE (FOR MARSHALL MCLUHAN)

THE MESSENGER ARRIVED OUT OF BREATH. THE DANCERS STOPPED THEIR  PIROUETTES, THE TORCHES LIGHTING UP THE PALACE WALLS FLICKERED FOR A MOMENT, THE HUBBUB AT THE BANQUET TABLE DIED DOWN, A ROASTED PIG’S NUCKLE FROZE IN MID-AIR IN A NOBLEMAN’S FINGERS, A GENERAL BEHIND THE PILLAR STOPPED FINGERING THE BOSOM OF THE MAID OF HONOUR. “WELL, WHAT IS IT, MAN?” ASKED THE KING, RISING REGALLY FROM HIS CHAIR. “WHERE DID YOU COME FROM? WHO SENT YOU? WHAT IS THE NEWS?” THEN AFTER A MOMENT, “ARE YOU WAITING FOR A REPLY? SPEAK UP MAN!” STILL SHORT OF BREATH, THE MESSENGER PULLED HIMSELF TOGETHER. HE LOOKED THE KING IN THE EYE AND GASPED: “YOUR MAJESTY, I AM NOT WAITING FOR A REPLY BECAUSE THERE IS NO MESSAGE BECAUSE NO ONE SENT ME. I JUST LIKE RUNNING.”

“hearsay” was an event based on the children’s game of “telephone” whereby a message – in this case, the text by Zend – is whispered from person to person and arrives back at its originator, usually hilariously garbled.  Zend’s text was “sent around the world in 24 hours, roughly following the sun, via a global computer network (I. P. Sharp Associates). Each of the eight participating centres was charged with translating the message into a different language before sending it on. The whole process was monitored at Toronto’s A-Space.” The final version, translated into English, arrived in Toronto as the following:

TO   HEAR

MESSENGER: PANTING.

THE DANCERS HAVE BEEN ORDERED TO DANCE, AND BURNING TORCHES WERE PLACED ON THE WALLS.

THE NOISY PARTY BECAME QUIET.

A ROASTING PIG TURNED OVER ON AN OPEN FLAME.

THE KING SAT CALMLY ON HIS FESTIVE CHAIR, HIS HAND ON A WOMAN’S BREAST.

IT APPEARED THAT HE WAS SITTING THROUGH A MARRIAGE CEREMONY.

THE KING ROSE FROM HIS SEAT AND ASKED THE MESSENGER WHAT IS TAKING PLACE AND WHY IS HE THERE? AND HE WANTED AN ANSWER.

THE MESSENGER, STILL PANTING, LOOKED AT THE KING AND REPLIED:
YOUR MAJESTY, THERE IS NO NEED FOR AN ANSWER. AFTER ALL,
NOTHING HAS HAPPENED. NO ONE SENT ME. I RISE ABOVE EVERYTHING.

Now, as it happens, I also just learned from a friend of mine about Zend’s incredible series of “typescapes,” ARBORMUNDI, published in 1982, seven years after writing “THE MESSAGE.” I wish I’d known about all of these works by Zend when I was working on Reading Writing Interfaces, as the third chapter is titled “Typewriter Concrete Poetry as Activist Media Poetics.” I delve into the era from the early 1960s to the mid-1970s in which poets, working heavily under the influence of McLuhan and before the widespread adoption of the personal computer, often deliberately court the media noise of the typewriter as a way to draw attention to the typewriter-as-interface. Similarly, like the low-level noise in “THE MESSAGE” and the high-level noise in “hearsay,” ARBORMUNDI elevates the noise of typewritten overlays, over-writing, into a delicate art. It’s appropriate, then, that the earliest (and perhaps first in the loose collection) typescape from 1978 is of the Uriburu: “mythological serpent – the symbol of the universe – which constantly renews itself by destroying itself.”

Robert Zend - Arbormundi 2

While the blurb on the back from the Sunday Star celebrates that Zend creates these typescapes with a manual typewriter, “no electronics, computers or glue involved,” he clearly had a McLuhanesque birds’ eye view of the entire, interconnected media-scape of the 70s and 80s, from typewriters to telematics.

Since ARBORMUNDI seems to be quite rare and I’ve only come across some nice images and beautiful close-readings on Camille Martin’s blog, I decided to scan the whole thing – available here and below. Enjoy!

Robert Zend’s ARBORMUNDI, Copyright © Janine Zend, 1982, all rights reserved, reproduced with permission from Janine Zend

Recovering Paul Zelevanksy’s literary game “SWALLOWS” (Apple //e, 1985-86)

In 1986 – a year after creating a literary videogame called “SWALLOWS” for Apple //e and Apple //+ – writer Paul Zelevansky published the second volume of his by-now rare artist book trilogy THE CASE FOR THE BURIAL OF ANCESTORS: Book Two, Genealogy. Book Two is supposedly the third edition (which is also a fiction since there was only one edition) of a fictional translation of an equally fictional ancient text that is itself a translation of an oral account of the “Hegemonians” from the 12th-13th BCE that was “attributed to a score of mystics, religionists and scholars, none of whom has ever stepped forward.” (ix) The text focuses particularly on the stories of four priests, each of whom is identified throughout the book with a different typeface which Zelevansky claims makes it possible “to build a reading of the text around a typographical sequence.” (xi) Also included in Book Two is a sheet of 16 stamps – a miniature, layered collage of letters and found objects – as Zelevansky puts it in the “Preface to the Third Edition,” “each stamp has a particular part to play in the narrative. It is left to the Reader to attach them, where indicated, in the spaces provided throughout the text.” (xii) And, finally, enclosed in an envelope on the inside of the back cover, the book also comes with “SWALLOWS,” a 5.25″ floppy disk that is a videogame forming the first of three parts in the book. Programmed in Forth-79 for the Apple IIe or II+ (Forth was a popular programming language for home computers with limited memory), “SWALLOWS” was also integrated into the first section of Book Two through a short text/image version.

Since learning about Zelevansky’s work, I have been working through and writing on “SWALLOWS” as a very early, and important, instance of media poetics. And given what a remarkable work it is, and in an effort to contribute to the effort to preserve our digital past, I have made available the original file for “SWALLOWS” that you can run via an Apple // emulator. The existence of this file is entirely due to the work of Matthew Kirschenbaum and the generosity of Paul Zelevanksy. Matthew Kirschenbaum in fact recently made an argument in The Chronicle for the importance of digital preservation by detailing how he accessed “SWALLOWS” via an Apple // emulator and then provided Zelevanksy with the original .dsk file from which he then created a new version of “SWALLOWS” (with audio and video clips mixed in) called “G R E A T . B L A N K N E S S.”

Below are the directions to download the .dsk file and then run it on an emulator. Enjoy!

  1. download an Apple //e emulator. I found Virtual ][ works well.
  2. download an Apple // system ROM image. This zip file also works well.
  3. download the .dsk file for “SWALLOWS” (via Dropbox) and open the file using your Apple //e emulator