Judy Malloy donations to the MAL’s early e-literature collection

malloyDonations

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!

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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.

Documentation  Folders

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.

Uncle Roger
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.

Molasses
This folder contains a few Xeroxes or printouts of screens from Molasses, one of which has instructions for reading the work.

Wasting Time
A documentation sheet for Wasting Time.

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bpNichol’s “Singing Hands Series”: Canadian Concrete Poetry 1966 (Part 2)

I’m starting to understand that part of the reason why few people, if anyone, has a complete run of grOnk is because it appears the print runs for each issue varied vastly (from 20 to, say, 200 copies); some Nichol simply gave away to friends, others he distributed through the Village Bookstore in Toronto, and others he mailed out to an international mailing list. More, while Nichol intended to have eight issues in each series, after the mid-1970s it seems that publication became more erratic and some series are missing issues while other series had issues published later alongside issues from a different series altogether. grOnk is, then, a bibliographer’s nightmare. To complicate matters further: Nichol published separate but parallel mini-series of chapbooks, pamphlets, postcards etc alongside grOnk. As you can see in the “Ganglia Press Index,” there was also the Ganglia Concrete Series, the Singing Hand Series, the 5¢ Mimeo Series, Tonto or Series, and the 35¢ Mimeo Series (just to name a few). Some of these series were then later absorbed into certain grOnk issues (for example, John Riddell’s “Pope Leo: El Elope” was published in 1969 as part of the 35¢ Mimeo Series but then later absorbed into grOnk Series 2 issue 6.

The Singing Hand Series is particularly interesting as it was published from 1965 to 1966 and so pre-dates grOnk by several years. Nichol used this series to publish work by David Harris and d.a. levy as well as a couple works by himself. The piece I have and which I’ve digitized here is “COLD MOUNTAIN” which Nichol has annotated in the “Ganglia Press Index” by writing “burnable mimeo edition (never ordered & thus never released).” The piece is undated but it was likely published (though not distributed) in 1966 and would have sold for 10¢.

I’ve created a pdf of “COLD MOUNTAIN” but, as it’s a kind of flip-book – a resolutely bookbound genre whose materiality does not translate into the digital – my description here will hopefully augment the digital version. The piece is about 3 x 3 inches, with four strips of paper folded in half and a single sheet inserted in the middle – all of which are stapled together. It has clearly been written with a typewriter and while the structure of the poem doesn’t necessarily depend on the typewriter, the precise distance between letters no doubt helped to visually create words that ascend and descend as along the contours of a mountain. Opening the small pamphlet we read, “MOUNTAIN / COLD / TO / GO”; flipping to the back page we read, “RETURN / FROM / COLD / MOUNTAIN.”

Already its charm, not to mention the meaning behind its material structure, is lost in this kind of description as well as in the digital scan of the front and back pages – for, as we turn over each strip of paper that is marked with a single word, we find directly underneath two or three other typewritten lines which we can read along with the word on the verso, the words above, and even the lines on the next strip of paper. In other words, following on Raymond Queneau’s unreadable Cent mille milliards de poemes from 1961, “COLD MOUNTAIN” is a more modest – though still compelling in its minimalism – work of potential literature.

> See also grOnk magazine: Canadian Concrete Poetry 1967-1988 (Part 1)

> See also grOnk magazine: first and second series 1967 – 1970 (Part 3)

> See also grOnk magazine: third series, issue 1 1969 (part 4)

> See also grOnk magazine: third series, issues 3, 4, 7, 8 1969 (part 5)

grOnk magazine: Canadian Concrete Poetry 1967-1988 (Part 1)

The most remarkable package arrived in the mail last week from Nelson Ball, longstanding Canadian poet, editor, book-seller and husband to the remarkable Canadian painter Barbara Caruso: a nearly complete set of grOnk magazine along with bpNichol’s Captain Poetry Poems, the second issue of Grease Ball Comics, and Nichol’s “Cold Mountain.” It’s difficult for me to describe the sense of awe and gratitude that came over me as I pulled out each piece, one at a time. I was holding what was for me a crucial piece of Canadian poetry/publishing history – one that I’d only read about and occasionally seen isolated pdfs. Given the importance and the rarity of these documents, what I’d like to do is write a short blog post on each issue, each item, and include a pdf of each that I’ll also put up on the online archive bpnichol.ca. I hope you enjoy!

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I haven’t yet found any articles on the history of grOnk magazine – at the moment, all I know is that bpNichol established Ganglia Magazine in 1965, which was published by Ganglia Press, which in turn published grOnk magazine with David Aylward & Rob Hindley-Smith in 1967. Included in the bundle of goodies from Ball is the “Ganglia Press Index”, compiled by Nichol for Ganglia Press/grOnk series 8 number 7 in 1972. (The entire bibliography is now online here.). In the “Introduction” Nichol writes:

somewhere in 66 i met dave UU for the first time  he and i and rob (nee rah) smith decided it’d be nice to publish a monthly mag of concrete & related poetries & distribute it free so we invited dave aylward along for the ride launching the first issue of grOnk in january of 67  we ran them thru on a monthly schedule to august of 67 when dave uu moved west & grOnk went under wraps for a year   in september of 68 i started it up again   dave uu was still the most active co-editor with bill bissett & steve mccaffery in there in 3rd & 4th   we kept churning it out free right up to the present and mailing it out every four to eight months in big chunky envelopes which made for nice gifts of poems for people all 64 issues   anyway now times change  the frequency of grOnk as of this date (july 28 1972 is decreasing to make way for other projects   GANGLIA PRESS has served its function as a free information service to an audience of about 250 people…

And so, to inaugurate this series of blog posts on grOnk – and in the spirit of the gift economy that Nichol, UU and Smith had in mind – here is a pdf of the “Ganglia Press Index.” Scroll down to the bottom of the page on bpnichol.ca to download.

> See also bpNichol’s “Singing Hands Series”: Canadian Concrete Poetry 1966 (Part 2)

> See also grOnk magazine: first and second series 1967 – 1970 (Part 3)

> See also grOnk magazine: third series, issue 1 1969 (part 4)

> See also grOnk magazine: third series, issues 3, 4, 7, 8 1969 (part 5)