Social Media Archeology
MUDs and MOOs
The Electronic Manuscript.
Electronic Literature Authoring
Conferences and Exhibitions
as Critical Practice
Pathfinders: 25 Years
of Experimental Literary Art,
MLA2014 Convention, Chicago
Chercher le texte: the 2013 Conference of the Electronic Literature Organization Brings Electronic Literature to the Public in Paris, September 23-28
E-Poetry 2013, Kingston University, London in June;
Program Features Presentations, Exhibitions, Performances, and a Pedagogy Colloquium
With a Theme of "Avenues of Access",
MLA2013 Includes an Exhibition of Electronic Literature
and over 60 Digital Humanities Panels
Remediating the Social,
Edinburgh, November 1-3, 2012
Exhibition to be Held
at WVU, June 20-23
Critical Code Studies
Working Group 2012:
Reading Code in Context
Belgrade Resonate Festival
March 16-17, 2012
2012 MLA Convention to Feature Elit
Panels and Exhibition
Dene Grigar, Lori Emerson,
and Kathi Inman Berens
Impact Report for the
Electronic Literature Exhibit
of New Narrative
Elit Well Represented
Electronic Literature Organization Moves to MIT
A resource for teachers and students of new media writing, who are exploring what authoring tools to use, for new media writers and poets, who are interested in how their colleagues approach their work, and for readers, who want to understand how new media writers and poets create their work, the Authoring Software project is an ongoing collection of statements about authoring tools and software. It also looks at the
relationship between interface and content in new media writing and at how the innovative use of authoring tools and the creation of new authoring tools have expanded digital writing/hypertext writing/net narrative practice in this vibrant contemporary creative writing field.
Regina Pinto, AlphaAlpha
365 instances of the letter "A"
Produced by Regina Pinto, AlphaAlpha Uses Graphics, Animation, and Sound to Create an Effective Work of Collaborative Visual Poetry
April, 2014 begins with a replay of South American artist Regina Pinto's AlphaAlpha, for which she uses a variety of graphic art, animation, video, website design, and sound software applications to create a dynamic work of computer-mediated visual poetry. In this screen-viewed medium, where text can be encountered in a visual manner, AlphaAlpha focuses attention on the representation of the first letter of the alphabet, resulting in a work of collaborative literary art that, with its evocative connotations of "first letter", also imagines and illustrates how words and text can be represented on the Internet.
The AlphaAlpha project is a classic collaborative work in that participants were invited to create within the context of an interesting idea, and the producer incorporated their work in a framework that in this case includes texts and visual
implementations of the letter "A". The project both alludes to the vibrant South American tradition of visual poetry and calls attention to how text can be represented on the World wide Web. Participants were from all over the world including Joesér Alvarez; (Brazil) Isabel Aranda; (Chile) Muriel Frega; (Argentina) Satu Kaikkonen; (Finland) Maja Kalogera (Croatia) Yuko Otomo; (USA) Isabel Saij; (France) Reiner Strasser (Germany) and Araceli Zúñiga. (Mexico)
among many others....
......more about AlphaAlpha
April Featured Interview: Mark Bernstein
Mark Bernstein is chief scientist at Eastgate Systems in Watertown, Massachusetts, where he develops new hypertext tools including Tinderbox, Twig, and Storyspace and publishes original hypertext fiction and nonfiction. In his interesting, informative responses to the interview questions, Mark Bernstein talks about the history of Storyspace and Eastgate. The interview concludes with his lively, educational, sometimes practical, sometimes provocative advice to new writers of hypertext narratives and with a look to the future of computer-mediated literature.
Judy Malloy: How did you get started working with hypertext literature?
Mark Bernstein: I met Ted Nelson in 1976. Ted was briefly flirting with an academic career. I was in college. Computer Lib had just been published, and Ted was working on what would become Literary Machines.
Years passed; I got my doctorate and went down to DuPont to help set up an AI research group. When that blew up -- DuPont wanted all its AI work to be done in FORTRAN IV -- I came back to Eastgate to work on electronic books. Even in 1987, it was clear that the future of serious reading lies on the screen. I wanted to be part of that, and this seemed to be a research area within the scope of a small, independent firm. We started to publish hypertexts after the second hypertext conference in 1989. In those days, everyone was desperate to know whether people would (or could) read hypertexts. Everyone in the field had built their own hypertext system; they wrote hypertexts
themselves, assigned graduate students to perform evaluative studies,and recruited their own undergraduates to serve as test subjects. It was the very definition of a methodological problem, and it seemed a good solution might be to provide some well-known "standard"
And so we published afternoon, and Victory Garden, and then King Of Space and Quibbling and its name was Penelope.
These hypertexts helped focus discussion. For the first time, if you and I wanted to talk about the craft of hypertext writing, we could talk about a specific work we'd both read, a work with some ambition and scope, a work we could admire and with which we might disagree....
March Featured Resource: The Electronic Manuscript
Cynthia-Beth Rubin: visuals, narrative
Bob Gluck: music, programming
Layered Histories: The Wandering Bible of Marseilles
installation, Jewish Museum in Prague
Photo by Dana Cabanova, from the collection of the Jewish Museum in Prague Photo Archive
ith their visual impact and their surprisingly beautiful
emphasis on words, medieval manuscripts, are a cogent field of study and inspiration for the creation of electronic text. Focusing on manuscript-like uses of dense and/or visual text
and on the creation of electronic manuscripts to be read aloud, installed in community settings, or web-situated in online community settings, a resource of selected different approaches is presented in an
Authoring Software feature
on The Electronic Manuscript.
MAUVE DESERT: A CD-ROM Translation
"Committed", in her words, "to using and abusing new last technologies", Adriene Jenik is an
award-winning media artist, filmmaker, and educator. Currently Professor and Director
of the School of Art at the Herberger Institute for Design and the Arts, part of Arizona State University,
she has also been an active member of the Paper Tiger TV collective and Deep Dish TV.
She brings to her work -- which has been at the forefront of exploratory media and new media
narrative and of public art using community-based wireless networks -- a knowledge of technology;
an interest in creating new forms of literature, cinema, and performance; and a narrative
sensibility that is sometimes community-based, sometimes addresses issues of gender and sexuality,
and sometimes looks at the human connection in a technology-mediated world.
Adriene Jenik's narrative of the creation of MAUVE DESERT: A CD-ROM Translation, based on
Nicole Brossard's le Désert Mauve,
is a classic look at the process of creating a new media narrative. And -- as she continues to update the work, recently releasing a DVD documentation --
is also an example of how writers and artists work to keep their projects current in the face of changing platforms and applications.
"The beauty of words, the power of the desert, and the fears and fantasies of human evolution with
technology are all still real -- and present and prescient in the work," she observes in her statement
on Authoring Software. ....more
Software: Microsoft marquee
Detail: William Harris, "Armistice", n.d.
illiam Harris (1926-2009) taught classics at Middlebury College in Vermont for thirty-two years. A sculptor, composer, and poet, when he retired in 1990, he worked with computers -- compiling an electronic Latin dictionary,
Humanist's Latin Dictionary, that was published by Centaur, as well as a series of evocative electronic poems and image/text works.
"I want a poem to be meditated, not read through," he writes in his essay for Authoring Software. "So by taking it off the page and making it a variable field of words, I think we are trying something new and something possibly very interesting."
"Thus," he observes, "each poem is continually evolving out of its own internal history, which at times may give a very different appearance to the whole display on the screen. The first appearance will be even like any text. Next some lines will start to go in different directions, and some will have a different programmed speed while others re-speed themselves later. Later, as a surprise, groups of words may possibly arrange themselves to the right and left of the screen leaving the center empty, or they may all congregate centrally before starting to wander sideways. The interesting thing about this variability is that as the poem progresses, more of the
text obeys the internal patterning generated by the running program, and less and less the initial pattern which I have set up."
A World War II Veteran, Harris, who had been battling cancer for several years, died at the age of 83 in February 2009.
To read his complete Authoring Software statement, visit
William Harris: Hyper Poems
Pathfinders: 25 Years of Experimental Literary Art at MLA 2014
Pathfinders: Documenting Curation as Critical Practice
Curatorial Statement by Dene Grigar
athfinders: 25 Years of Experimental Literary Art, the exhibit that opens on January 9 at the Modern Language Association 2014 Convention, begins with the premise that curation is a critical practice born out of research and, so, constitutes a scholarly activity. While this sentiment is not a controversial one in fields like Fine Art, where curating works of art relies on deep knowledge of art, history, and culture; highly honed interpretative and evaluative skills; and a great deal of creativity, it is relatively new idea for the Humanities. The recent book, Digital_Humanities, however, makes a strong case for curation as a "fundamental activit[y] at the core of Digital Humanities. Just as in Fine Art, curation in Digital Humanities involves "the selection and organization of materials in an interpretative framework, argument, or exhibit" that "brings humanistic values into play in ways that [are] difficult to achieve in traditional museum or library settings" 
To make the connection between scholarship and curating absolutely clear, this exhibit is built directly out of Pathfinders: Documenting the Experience of Early Digital Literature, a digital preservation project led by Stuart Moulthrop and me and sponsored by a National Endowment for the Humanities Level II Start Up grant.
Pathfinders, the project, is an unusual digital preservation scholarly activity in that its intent is to capture not just the work of art but also the user's experience with the work. In that regard, we have videotaped each of four electronic literature artists reading through their work. This reading we call a "traversal" because it leads a viewer through a work that is both interactive and multi-linear, from its beginning to some level of closure. We add to the artists' traversals, those by readers, some of whom have never experienced electronic literature before or who may not be familiar with early digital literature. Interviews with the artists and readers augment the information, which will be edited, collected, and eventually disseminated in a multimedia book. So, the first order of selection for Pathfinders came out of an overarching conceptual framework focusing on a particular artifact -- early digital literature --- and particular seminal works constituting experiments with digital texts that can no longer be experienced on current computing devices: Stuart Moulthrop's Victory Garden; John McDaid's Uncle Buddy's Phantom Funhouse; Judy Malloy's Uncle Roger; and Shelley Jackson's Patchwork Gir. In essence, they all comprise works that are quickly becoming lost works of literary art.
John McDaid Traversing Uncle Buddy's Phantom Funhouse
in The Electronic Literature Lab (ELL)
athfinders, the exhibit, showcases the work that Stuart Moulthrop and I have, heretofore, completed on the project -- that is, all of the videotaping of the traversals and interviews for each of the four artists -- and extends it into current experimental work. In that vein, the exhibit is divided into two sections, with early experimental works organized at the front of the space and current work, beyond.
Thus, the exhibit opens with Station 1, entitled "Paths to Digital Literature", featuring four vintage Macintoshes from my lab (The Electronic Literature Lab, or ELL). Here visitors find an Apple IIe displaying Uncle Roger; the Mac Classic featuring Victory Garden; the Mac LC 575, Patchwork Girl; and the LC 580, Uncle Buddy's Phantom Funhouse. The addition of Bill Bly's We Descend to the exhibit, showcased alongside McDaid's work, hints to the next phase of Pathfinders-- a partnership with the University of Maryland's Maryland Institute for Technology in the Humanities, where Bly's work has been collected. Plans also include the collaboration with the University of Colorado Boulder's Media Archaeology Lab, led by Lori Emerson. As mentioned previously, these five works represent early experiments with digital literature, pioneering efforts by artists that are part and parcel of high art that parallel the impetus to experiment that also occurs in print literature. This particular argument lies at the heart of the exhibit, Electronic Literature & Its Emerging Forms, that Kathi Inman Berens and I curated at the Library of Congress in April 2013, where we showed, for example, the connection between concrete and kinetic poetry, cut up poetry and hypertext, among other ideas.
t Pathfinders, accompanying each computer in Station 1 will also be an iPad displaying raw video footage from the traversals and interviews taken during the Pathfinders project data collection. This additional material will make it possible for visitors to experience the works, first hand, on the computer on which readers would have originally experienced the work when it was first released and, then, see and hear the artists traverse the work themselves and talk about the production of the work. Culturally and intellectually situating the works in this way aims to provide an enriched intellectual experience for exhibit visitors.
Past this section of the exhibit visitors find "Current Directions" where they discover contemporary experiments with digital literature. As Stuart and I point out at the exhibit website, it is our contention that just as hypertext authoring systems like Storyspace and HyperCard were seen as new technologies that allowed for highly experimental writing in the 1980s and 1990s. [Bolter,2] contemporary technologies like Leap Motion, augmented reality software, and other technologies also lend themselves for compelling experimental literary work.
The process of selection of this section of the exhibit centers on large categories of works and employs terminology that may be familiar to Digital Humanists visiting the exhibit. So, here we find stations entitled "Multimedia Books and Apps", "Immersive Environments", "Participatory Media", "Augmented Reality", "Physical Computing", and "Mixed Mediums". In all cases, we selected only one or a couple of works to highlight, aiming for a small amount of art to exhibit so that visitors can, ostensibly, experience all of the art during the convention. We also feature some new and upcoming artists, who may not yet be well known among those working in electronic literature as well include artists from outside of the U.S. to offer a global perspective. And finally, we have chosen some works that are so new, like Amaranth Borsuk, Kate Durbin, and Ian Hatcher's Abra, that they have come to us in beta versions.
t Station 2 "Multimedia Books and Apps", visitors find Samantha Gorman & Danny Cannizzaro's PRY, Amaranth Borsuk, Kate Durbin, & Ian Hatcher's Abra, and Andreas Muller's "For All Seasons". Displayed on iPads, these works represent new forms of digital publication. While multimedia books can have close resemblances to websites, apps represent the first born-digital object with no corresponding print cognate. From this perspective, they constitute compelling objects of critical study, particularly as an environment for literary production. Station 3 "Immersive Environments" offers Christine Wilks and Andy Campbell's Inkubus, an interactive playable narrative that utilizes both 2 and 3D technologies for immersing readers in the work. Station 4 "Participatory Media" highlights Jay Bushman's tweeting of Mike Daisey's performance piece, The @gony @nd the Ecst@sy of Steve Jobs, and, so, represents a work of twitterature, the first featured at a MLA exhibit. At Station 5 "Augmented Reality", visitors will find Jacob Garbe's Closed Rooms, Soft Whispers, a work that brings together analog and digital into a haunting virtual experience. Station 6 "Physical Computing" hosts Josh Tanenbaum and Karen Tanenbaum's The Reading Glove. I experienced a version of this work at the International Digital Media and Arts Association conference in Vancouver, Canada in 2011, where, at the time, both artists were graduate students studying at Simon Fraser University. While the original offered a tabletop interface with which to interact with the objects, this portable version, created especially for the Pathfinders exhibit, utilizes a computer screen. Finally, Station 7 "Mixed Mediums" offers both Erik Loyer's Leap Motion experiment with physical gestures and digital narrative, "Breathing Room",
and Jason Nelson's experiment with speech and text, Speech/Media_To_Text_Poetry_Translation.
The Pathfinders Team: Stuart Moulthrop and Dene Grigar, working onsite at Princeton.
Photos: J. Malloy
hile critical work in the Humanities has traditionally occurred in the context of an essay aimed at a print publication, the critical work represented by the Pathfinders exhibit is centrally situated in the context of an activity. In this regard, it is both showing and telling about one's research. In so doing, it places a heavy emphasis on empirical, direct experience with objects as they combine with other objects in the exhibit space, with other human observers experiencing the objects, and with objects' and observers' relationship with the physical environment in which they are found; writing that generates from this activity serves as documentation of that primary intellectual activity and articulates, scriptually, the theoretical underpinnings and methodologies used to produce and execute the activity that is implicit in the act of curation. In essence, what
Pathfinders seeks to demonstrate is an important concept in Digital Humanities -- that doing is not separate from thinking.
Stuart and I hope if you are planning to attend the MLA 2014 Convention in Chicago that you will visit our Pathfinders exhibit and experience, firsthand, our research into past and present experimental digital literature.
1. Burdick, Anne, Johanna Drucker, Peter Lunenfeld, Todd Presner and Jeffrey Schnapp, Digital_Humanities. Cambridge, MA: MIT Press, 2012. p. 17 (my emphasis)
2. Bolter, Jay, Writing Space: Computers, Hypertext, and the Remediation of Print, Hillsdale, New Jersey: Lawrence Erlbaum, 1991. p. 23
Pathfinders: Documenting the Experience of Early Digital Literature
led by Dene Grigar, Washington State University Vancouver, and Stuart Moulthrop, University of Wisconsin-Milwaukee
129th MLA Annual Convention
Chicago,9-12 January 2014
Digital Humanities at MLA 2014
A list of 77 Digital Humanities sessions at MLA 2014, compiled by Mark Sample
Winter 2013 Featured Work:
J. R. Carpenter Excerpts from the Chronicles of Pookie and JR
J. R. Carpenter conducts the Hermit Crab Reading Choir, in which, members read Excerpts of the Chronicles of Pookie & JR in a round, at the launch of GENERATION[S],
a collection of code narratives, published by Traumawien. Cabaret Fledermaus, Vienna.
J. R. Carpenter is a Canadian artist, performer, poet, novelist, new media writer and researcher, based in South Devon, England. She began using the Internet as a medium for the creation and
dissemination of non-linear narratives in 1993.
Since that time, her work has been presented in
journals, festivals, and museums around the world, including the
Electronic Literature Collection, the Museum of Contemporary Canadian Art; Montréal Museum of Fine Arts; Istanbul Contemporary Art Museum; The Art Gallery, Tasmania;
The University of Maryland; Jyväskylä Art Museum, Finland; Palazzo delle arti Napoli in Naples,
Kipp Gallery, Indiana University of Pennsylvania; E-Poetry, Barcelona, Spain; the Arnolfini Gallery, Bristol, England; and The Banff Centre, Canada. She is a two-time winner of the Quebec Short Story competition, recipient of the Carte
Blanche Quebec Award, and recipient of research and production grants in literature and in new media from the Conseil des Arts de Montréal, Conseil des arts et des lettres du
Quebéc and Canada Council for the Arts.
J.R. Carpenter's work is interesting and entertaining, creatively using software and narrative to take the reader on explorations of community, animal companions, and the lives
of writers and artists. In Chronicles of Pookie and JR,
she adapts a story generator, written in Python by Nick Montfort, to tell a story of hermit-crab human interactions, in this case her adventures with Ingrid Bachmann's
hermit crab Pookie, also known as Pookie 14.
Story generators use a variety of computer-mediated
composition systems to create poetry or narrative. For instance, they may generate plot or characters, or they may ask users to input text that is the systematically recontextualized, creating, as in Excerpts from the Chronicles of Pookie and JR, a software-mediated story.
For more about J.R. Carpenter and how this work was created, visit
Excerpts from the Chronicles of Pookie & JR
page on Authoring Software.
November 2013 Featured Work:
Aaron Reed: Blue Lacuna
Aaron A. Reed
is the author of award-winning works of interactive fiction, (IF) including Whom the Telling Changed (2005) and
Blue Lacuna, (2009) an IndieCade finalist, and his new work includes 18 Cadence, an iPad storymaking platform.
His work has been exhibited/published at the 2010 Electronic Literature Organization Conference at Brown University; the (dis)junctions Media Festival at UC Riverside; the UC Santa Cruz Digital Arts Research Center, and the Electronic Literature Collection, Volume I, among others.
He is the author of Creating Interactive Fiction with Inform 7.(Course Technology PTR, 2010)
In his work, Aaron Reed continues to experiment with new forms of electronic literature and participatory storytelling, creating a series of new works that include his recent a full length IF novel Blue Lacuna. In his statement for Authoring Software, he describes the creation of Blue Lacuna, focusing particularly on levels of interaction and how they enhance the user experience.
"All of these levels of flexibility hopefully allow the story to be about different things to different people;" he writes, "readers should feel more complicit in the outcome of the narrative through realizing that they had a hand in shaping how things turned out. My hope is that work like this actively engages the audience in acts of self-reflection, creating stories that don't just talk at their readers, but listen, too."
For more about how Blue Lacuna was created, visit
Aaron Reed's page on Authoring Software.
New Authoring Software Statement, October 2013
Birds Singing Other Birds Songs
Software: Flash, Illustrator, Audacity
María Mencía is an artist-researcher and Senior Lecturer in New Media Theory and Digital Media Practice in the School of Performance and Screen Studies at Kingston University, London. Encompassing language, visual art, and sound, her work in digital poetics is experimental, textual, and generative. It has been presented, exhibited, and published internationally, including the International Symposium on Electronic Art; (ISEA) onedotzero; Electronic Language International Festival; (FILE) International Contemporary Art Fair, Madrid; (ARCO) Computers in Art and Design Education; (CADE) Caixaforum; E-Poetry 2013; Cherchez le Texte, the 2013 Conference of the Electronic Literature Organization, Paris; the TATE Modern; the Electronic Literature Collection; and the Anthology of European Electronic Literature.
In her words:
"As an artist academic for 14 years, I have been researching in the fields of digital art, digital poetics, language, and new media. My background in Fine Art and Linguistics has influenced my practice-based research and creative projects interconnecting language, art, and digital technology. It explores the area of the in-between the visual, the aural and the semantic. I am always interested in experimenting with the digital medium with the aim of engaging the reader/viewer/user in an experience of shifting 'in' and 'out' of language. This involves looking 'at' and looking 'through' transparent and abstract textualities and linguistic soundscapes."
In Birds Singing Other Birds Songs, she explores
a translation process in which the songs of birds are translated into language and then translated back to bird songs via the human voice. In the resultant work, the viewer interactively sets animated bird shapes in motion. Creating an innovative user-controlled experience, they sing the sound of their own text, while flying across the blue-sky screen.
Visit María Mencía's
Authoring Software Statement
on Birds Singing Other Birds Songs
to find out more.
Featured Authoring Software Statement, October 2013
Megan Heyward: of day, of night
Software: Director, Photoshop, After Effects, Pro Tools
Megan Heyward is a digital media artist who works at the intersection of narrative and new technologies. Her electronic literature projects -- I Am A Singer and
of day, of night of day, of night -- have been widely exhibited in Australia and internationally, including MILIA New Talent Pavilion; (France) ISEA02; (Japan)
Festival of Cinema and New Media; (Canada) Electrofringe; (Australia) Contact Zones; (USA) Videobrasil; (Brazil) Viper; (Switzerland), Stuttgarter Filmwinter; (Germany)
and ELO2012. (USA) Of day, of night was published by Eastgate Systems in 2005.
A Senior Lecturer in Media Arts and Production at the University of Technology, Sydney, Australia, Megan Heyward is currently working with narrative and locative technologies, as well as
early stage development of a new electronic literature project for tablet devices.
For Authoring Software she describes the creation of her evocative new media narrative of day, of night.
"Conceived as an experimental digital narrative,
of day, of night interweaves video, text, graphic and audio elements in a hybrid storytelling
environment that moves between literary, cinematic and game-like approaches," she writes to begin her statement.
And she notes that "The work sought to be an enveloping, responsive, multimodal narrative -- one which responded to touch, made sounds, one where text would shimmer and
undulate; as well as a work that made space, from a narrative perspective, for ideas of uncertainty, indecision, wandering and chance."
Megan Heyward's statement on of day, of night
to find out more.
On the October 2013
Twitter Page, listings -- of Twitter poetry, narrative and netprov -- include, among many others:
Jay Bushman: "Loose-Fish #1: The Good Captain"
Joseph deLappe: "Reenactment: The Salt Satyagraha Online"
Joy Garnett: "#LostLibrary"
Dene Grigar: "The 24-Hr. Micro-Elit Project"
Joseph Kosuth: "Fifteen stones in place, all out of shadow..."
Mark Marino/LAinundacion: "The LA Flood Project"
Chindu Sreedharan: "Mahabharata on Twitter -- A Narrative Experiment"
and An Xiao: "The Artist is Kinda Present".
The Twitter Page also documents Twitter resources, such as:
Adeline Koh, "Twitter in a Higher Education Classroom: An Assessment"
Dhiraj Murthy, Twitter: Social Communication in the Twitter Age
and Tim O'Reilly and Sarah Milstein, The Twitter Book.
To find out more, visit the October 2013 Authoring Software
Chercher le texte:
the 2013 Conference of the Electronic Literature Organization
Will Bring Electronic Literature to the Public in Paris, September 23-28
et in Paris, Cherchez le texte, the 2013 Conference of the Electronic Literature Organization, (ELO) will bring to the public and the International digital literature community
a multitude of forms of digital literature presented in exhibitions, performances, documentation, and panels/critical discussion -- beginning with a session on French digital poetry and also including two sessions on "Electronic Literature as World Literature".
Dominant themes at the heart of the Conference are:
A desire to present to a large public the many forms of electronic literature that have developed internationally
The presentation of historic genres of electronic literature, such as hyperfiction and generative poetry, in conjunction with contemporary genres and platforms of contemporary electronic literature, for example, the touch pad works by Collectif i-Trace, Caitlin Fisher, and Erik Loyer that are included in the exhibition
And the lineage of electronic literature in relationship to the work of younger practitioners
Cherchez le texte, the first ELO Conference to be held in Europe, is hosted by the Laboratoire Paragraphe and the EnsAD. (Ecole nationale suprieure des Arts Décoratifs) The organizing committee is chaired by Professor Philippe Bootz, (Paris 8) who is the co-founder of L.A.I.R.E, a French collective in digital literature and Transitoire Observable, an international collective in programmed poetry.
he official languages of the conference will be French and English. In their words:
"Au cours d'une semaine intense de débats, performances, conférences et expositions, la littérature numérique s'offre à lire, à voir, à entendre, à jouer et à toucher en divers lieux culturels parisiens."
"The ELO is a family made up of hundreds of people distributed around the world but united by a love of electronic literature and experimental writing," observes incoming ELO President Dene Grigar, Director and Associate Professor of the Creative Media & Digital Culture Program at Washington State University Vancouver. "And so what I like about ELO 2013 Cherchez le texte is that it introduces the idea of an annual conference. We can now come together more frequently to reconnect and to share our ideas and work. It is a celebration of our family in one of the most beautiful cities in the world, one with a rich tradition of experimental literature, where electronic literature will be completely at home."
ELO Vice President and Director of West Virginia University's Center for Literary Computing, Sandy Baldwin points out that the conference will also be an excellent showcase for French electronic literature, as well as for emerging writers and scholars.
There is a long tradition of e-lit, particularly generative and algorithmic poetry and narrative in France, with its own unique characteristics, he explains. "As to young scholars and artists: many of the presenters are new faces, doing brilliant work, and looking at e-lit in new ways. In the end, this is the most important thing a conference can do -- keep the field fresh."
Launched under the leadership of the Laboratoire Paragraphe, (Universitè Paris 8) the Excellence Arts-H2H Lab, and Laboratory Music and Computer Marseille, Cherchez le texte is one of the most important international events of digital literature ever to have been organized in France.
"A lot of the credit goes to Professor Philippe Bootz of the University of Paris 8. (Saint Denis) Bootz and his colleagues worked hard to schedule events at tremendous venues, and of course Paris is full of amazing locations," Sandy Baldwin emphasizes. "We're starting with performances at the Pompidou Museum, followed by a day of presentations at the Bibliothè que Nationale de France. (BNF) The main conference events are at EnsAD, with additional performances at Le Cube. In all, these are tremendous showcases for e-lit, and the organization is honored to be featured in these venues."
LO 2013 will be followed by ELO 2014 in Milwaukee, and then the conference will return to Europe for ELO 2015 in Bergen Norway. "And hopefully we'll eventually hold conferences in Australia, South American, and elsewhere," Badwin notes.
Exhibitions and a Series of Performances Present Electronic Literature Throughout Paris
Phillipe Bootz: Detail from Ping Pong Poem,
to be presented in a series of Evenings of Performances at le Cube, Issy-les-Moulineaux
Les littèratures numèriques d'hier á demain
rganized by le laboratoire Musique et Informatique de Marseille (MIM) in collaboration with le Labo BnF, (Bibliothèque Nationale de France François-Mitterand) and le labex ARTS-H2H de l'universitè Paris 8, among others,
the exhibition Les littèratures numèriques d'hier á demain
will open on September 24 at le Labo BnF and run until December 1, 2013.
The gallery will feature digital poetry created for the exhibition by Brian Barrachina, Douglas Duteil, Cassandra Ribotti, as well as Amaranth Borsuk and Brad Bouse's Between Page and Screen.
The concurrent virtual gallery includes an international selection of web-based works of electronic literature.
Illya Szilak: title page from Queerskins. The title page includes images by Illya Szilak and Pelin Kirca; graphic design by Cyril Tsiboulski who also created the interactive experience for Queerskins. Queerskins will be on exhibition in the Virtual Gallery, le Labo BnF, through December 1, 2013.
Among many other works, the web-based exhibition at le Labo BnF includes:
M.D. Coverley (USA) Tarim Tapestries
Chris Funkhouser (USA) Funk's SoundBox 2012
Catherine Lenoble (France) Petit bain
Judy Malloy (USA) From Ireland with Letters
Maria Mencia (UK) Transient self-portrait
Jason Nelson (Australia) untitled art/poetry games
Gao Tian (France) je l'ai dèjè oublièe;
Elvia Wilk (Germany) Kenny Drama
plus works by Mez Breeze and Andy Campbell, J.R. Carpenter, Loss Pequeño Glazier. Jean-François Gleyze, Mark Marino, Mark Sample, Illya Szilak and many others.
JR Carpenter: ..and by islands I mean paragraphs
"...and by islands I mean paragraphs casts a reader adrift in a sea of white space dotted with computer-generated paragraphs whose fluid compositions draw upon a literary corpus of island texts ranging from Shakespeare's The Tempest, to Bishop's Crusoe in England. Collectively these islands constitute a topographical map of a sustained practice of reading and re-reading and writing and re-writing islands...and by islands, I do mean paragraphs."
on exhibition in the Virtual Gallery, le Labo BnF, through December 1, 2013.
Festival Evenings of Performances
uring Cherchez le texte, a series of elit-based performances will take place at venues including Petite salle du centre Pompidou; BnF François-Mitterand Grand Auditorium; Le Cube, Centre de crèation numèrique; and EnsAD.
Hortense Gauthier and Phillipe Boisnard will perform
Contact / HP Process at Le Cube:
"A man and a woman write to each other through intermediary screens and from behind their keyboards they improvise a dialogue in which they deconstruct and blur network chat and relationship codes in a poetic, performance-driven way."
Philippe Bootz will perform his Pong ping poème, a work which is part of his "little poems which are uncomfortable to read" series. In Pong ping poème, 50 texts are read in a random order. But the audio is controlled by a ping pong game, and the performer must win in order to be heard.
Chercher le texte: The Complete Story
Social Media Community - The Resource Continues!
The first Community Memory terminal, 1973
Housed in a cardbox box at Leopold's Records in Berkeley, California, it was an ASR-33 Teletype connected by a 110-baud line to an XDS-940 host in San Francisco.
(Photo licensed by Mark Szpakowski for the Community Memory Projectunder Creative Commons Attribution Share-Alike)
There are many different ways in which social media platforms can be used as authoring systems. They include An Xiao's performative Morse Code Tweets @ The Brooklyn Museum;
how Jay Bushman used Twitter-based sequential storytelling to
create The Good Captain, based on Benito Cereno
by Herman Melville; how Antoinette LaFarge's Plaintext Players have used MOOs to improvise in real time, in her words: "creating a text that was partly written, partly performed"; how Mark Marino and Rob Wittig combined performance and narrative in
their netprov Reality:Being @SpencerPratt;
and how Dene Grigar used Twitter to produce
the collaborative narrative, The 24-Hr. Micro-Elit Project.
Authoring Software begins the Fall 2013 season with
a continuing look at the early history of social media platforms
in the arts and humanities.
detail from a kiss by Dan Waber,
Drunken Boat 17, 2013
Dan Waber is a poet, playwright, publisher, and multimedia artist, whose work is almost always
Waber's works of electronic literature include Strings,
presented in Flash and published in the Electronic Literature Collection v. 1; the collaborative hypertext, that reminds me; and the brief, dense, fluxuating poems
in his elegant collection
a kiss, an innovative use of the freeware hypertext application Twine, was published in 2013
in Drunken Boat 17.
In his statement for Authoring Software, Waber explains that "You begin at the center of all things, the moment of a kiss and are able to move outward from that moment
in several directions. Each choice leads to more choices, the further away you move, until at the outermost limit all possible choices lead back to the moment of a kiss."
Authoring Software statement on
a kiss to find out more.
The August 2013 edition of Authoring Software's
Poetry Generators Resource
Suggestions for more additions are welcome!
Authoring Software for Pedagogic Practice
2013 E-Poetry Festival, Kingston University, London, June 17
Looking at e-poetry through the lens of 27 years of creating electronic literature, I would like to celebrate the role of authoring systems as core components in the expression of individual vision -- not only for experienced practitioners but also for students.
July 2013 Featured Work:
The Last Performance [dot org]
Writer and code artist Judd Morrissey is an Adjunct Assistant Professor at the School of the Art Institute of Chicago in Writing, Art and Technology Studies, and Performance, where he creates electronic literature, performance art, and site-specific installations.
Morrissey's work -- which includes
My Name Is Captain, Captain (in collaboration with
Lori Talley, Eastgate Systems, 2002) has been exhibited and published Internationally including Visionary
Landscapes: the 2008 Electronic Literature Organization Conference, Vancouver, WA; The Iowa Review Web; Eastgate; E-Poetry 2005, London; Cerisy 2004, Normandy, France;
Computers and Writing 2004; Language and Encoding, University of Buffalo; p0es1s: International Exhibition of Digital Poetry, Germany; the Museum of Contemporary Art, Chicago; Rockford Art Museum; Chicago Cultural Center; Mobius,
Boston, MA; and the DeCordova Museum. In 2006, Morrissey was a recipient of a Creative Capital/Andy Warhol Foundation Arts Writers' Grant.
He is a founding member of the interdisciplinary art-making and curatorial collective, OPENPORT and an Associate Member of Goat Island performance group.
For Authoring Software, Judd Morrissey writes about the creation of The Last Performance [dot org],
a poetic "evolving collaborative space" in which an array of generative text -- collaboratively composed in thousands of "lenses" -- assembles and reassembles
in an elegant dome architecture structure.
The Last Performance is a constraint-based collaborative writing, archiving and text-visualization project responding to the theme of lastness in relation to architectural forms, acts of building, a final performance, and the interruption (that becomes the promise) of community.
This project was conceived in response to the work of the
Chicago-based performance collective, Goat Island, (of which
I am a part) and their decision, after 20 years of practice,
to create a last performance. The electronic work is evolving over two years in parallel with the creation and performance of the company's final performance work, The Lastmaker.
The structure of the project is taken from my research with Goat
Island into double buildings, a phrase we are using to describe spaces that have housed and survived multiple historical identities, with a specific concern for the functions of churches, mosques, and museums. The central structure of The Last Performance is a virtual dome, based on the cupola of a particular Croatian double building, a construction
of circles within circles consisting of 4,680 glass lenses. The lenses of the cupola have been transposed as compositional spaces that will be populated until the dome is complete. The dome writings are also processed as source material to create a constantly evolving textual landscape.
E-Poetry 2013 to be Held at Kingston University, London in June;
Program will Feature Presentations, Exhibitions, Performances, and a Pedagogy Colloquium
Created by Zuzana Husárová and L'ubomír Panák, the interactive textual
and new media performance I : * ttter will be exhibited in the E-Poetry 2013
exhibition Words Unstable on the Table, at the Riverside Gallery, curated by María Mencía.
ollowing Festivals in Buffalo, West Virginia, London, Paris, and Barcelona, E-Poetry, a seminal International Festival of digital literature and scholarship, returns to London. Presented by the Buffalo-NY based Electronic Poetry Center, with the support of Kingston University London and the Watermans Art Centre, E-Poetry 2013 will take place from June 17-20 at Kingston University.
"This Festival is intended as a worldwide gathering, different perspectives convening at one time," the Festival notes. "We hope to build connections that are sustainable, energizing, and that reach across disciplines. More importantly, the 'poetry' in 'E-Poetry' does not signal a genre preference
but an ORIGIN -- MAKING as a means of realizing art, a delight in digital literary invention. Our emphasis is on the multiple literary and artistic ramifications of digital media
writing and its critical reception through extending modes and practices that transcend limits of genre or specific technologies. We celebrate new voices, emergent thoughtful
articulation, performance, and cultural breadth in expression."
"every presenter is a keynote"
Poets, scholars and researchers who will present at E-Poetry 2013 include Amaranth Borsuk, Serge Bouchardon, Andy Campbell, John Cayley, Giovanna Di Rosario, Natalia Fedorova, Penny Florence, Leonardo Flores, María Mencía, Nick Montfort, Jason Nelson, Sarah Tremlett, Talon Memmott,
Christine Wilks, and Jody Zellen, among many others. Conference presentations also include a pre-festival Pedagogic Colloquium hosted by María Mencía, artist-researcher and Senior Lecturer in New Media Theory and Digital Media Practice in the School of Performance and Screen Studies
at Kingston University.
"Every presenter fits nicely and, as always, at E-Poetry -- every presenter is a keynote!" Loss Pequeño Glazier, Director of the Electronic Poetry Center and the E-Poetry
"Where else do you get so many keynotes, one after another?!"
"....twists and turns with dazzling treats at the end of gorgeously honed paths"
Poet Loss Pequeño Glazier, who is a professor in the Department of Media Study, SUNY Buffalo, is also enthusiastic about the breadth and the open format of the program. "It's got range, style, diverse conversations, threads, themes, motifs; a stunning range of innovative performances;
...it presents twists and turns with dazzling treats at the end of gorgeously honed paths; it's rich with UK presenters; it includes special panels from Russia, on Latin American digital poetry, presentations from Slovenia, Poland, Romania, Brazil, Chile, Argentina, Australia, a special guest winging it from Hong Kong, plus we also include Western Europe and North America. Lots of newcomers all around!"
The program also includes presenters from Peru, Iran, Mexico, Greece, Puerto Rico, Latvia, the Netherlands, Germany, Spain, Norway, Sweden, France, Australia, Canada, and the US. "I am especially excited about the number of women artists and scholars and younger participants, who appear in the program in highly visible places," Glazier notes.
A Pre-Festival Pedagogic Colloquium
E-Poetry 2013 will begin with a pre-festival Pedagogic Colloquium, produced by poet and Kingston University Professor, María Mencía.
Among the professors, poets, and researchers in electronic
literature, who will address the practice and theory of electronic literature in the classroom,
Serge Bouchardon, University of Technology of Compiègne, France
Leonardo Flores on teaching with ongoing scholarly blogging
Judy Malloy (virtually) on Electronic Literature Authoring Systems
María Mencía on "Theory as analysis and methodology in practice-based creative media"
Jeneen Naji, National University of Ireland Maynooth
Kate Pullinger on "pedagogy in the field of where creative writing meets technology"
Maya Zalbidea Paniagua, Universidad La Salle, Madrid
Other presenters include Amaranth Borsuk, University of Washington, Bothell; Antonella Castelvedere, University Campus Suffolk; Maria Engberg, Blekinge Institute of Technology, Sweden; Zuzana Husárová, Comenius University and Masaryk University, Slovakia; and Talan Memmott, Blekinge Institute of Technology, Sweden.
Words Unstable on the Table
Curator María Mencía's invitation to the E-Poetry 2013 exhibition, Words Unstable on the Table.
In her words from the catalogue:
"The works in the exhibition touch upon a variety of themes, literary, cultural, social and historical aspects such as; nature, identity, gender, multilingualism, reading, remixing, translation, evanescence, online-communication and digital culture. And they do so by combining different software, programming languages, mobile technology, network possibilities and new media tools, to produce a wide spectrum of creative practice in the form of game like structures, videos, digital-poems, net.art and language new media art."
June 2013 Featured Work:
The Pines at Walden Pond
Deena Larsen: a node from The Pines at Walden Pond
Colorado native Deena Larsen has been a central voice in the writing and understanding of new media literature.
Her seminal hypertext, Marble Springs,
about the lives of women in a Colorado mining town, was published by Eastgate Systems in 1993, and her work has also been published by the Iowa Review Web; Drunken Boat; Cauldron and Net; Riding the Meridian;
Poems that Go; The Blue Moon Review; New River and The Electronic Literature Collection. Her recent work includes revising and rewriting Marble Springs as the Marble Springs 3.0 wiki.
For many years, Deena Larsen hosted forums and workshops for the eliterature community. She currently hosts the website
Fundamentals : Rhetorical Devices for Electronic Literature, and her archives, The Deena Larsen Collection, are housed at the Maryland Institute for Technology in the Humanities at the University of Maryland.
For Authoring Software, she writes a short statement about her poetic, image-interfaced hypertext, Pines at Walden Pond. "I have used a lot of authoring tools", she begins, "but if I have to choose only one, let it be Pines at Walden Pond, which I did with Trellix."
Taroko Gorge by Nick Montfort
Accompanied by Electronic Literature Community Homage-Interventions
Detail: Nick Montfort:
It wasn't too long afterwards that Scott Rettberg appropriated Nick's authoring system and created the urban intervention "Tokyo Garage". Scott was followed by J.R. Carpenter,
whose "Whisper Wire" transported the landscape to the age of technology.
And an electronic literature community tradition had begun.
There were subsequently a series of works that in response, Nick lined through. (although they were still visible)
They included, among others:
Mark Sample's homage to George Takei, Andrew Plotkin's duet between the code and the text, Kathi Inman Berens kitchen-situated Tournedo Gorge, and Leonardo Flores' homage to Gary Snyder's mountain poetry.
Offering the potential for student exploration of the uses of an elegant authoring system,Taroko Gorge -- rooted in landscape description, constantly changing -- succeeds because
Montfort carefully planned the flow of the work and created meaningful data sets (allowing, for instance, for transitive verbs and imperfect verbs) and in the process created a resonant, contemporary poetry array that inspired collaborative response.
The resultant eliterature community works have been reviewed by Leonardo Flores at
accompanied by his own remix of the poets and the process.
Taroko Gorge by Nick Montfort et. al.
Detail: Judy Malloy:
Scholars Contemplate the Irish Beer
Authoring System: Nick Montfort: Taroko Gorge
Below are archived statements create during the 2008
Electronic Literature Organization Conference and during the 2008 Seminar on Electronic Literature in Europe
Many of these statements will be retooled
with separate pages in 2014.
Stefan Müller Arisona
Exploding, Plastic & Inevitable
Soundium, Ableton Live, Modul 8
Swiss new media artist/researcher Stefan Müller Arisona works with real-time multimedia systems and live multimedia composition and performance software. His audio-visual performance narratives have been shown and performed internationally. Currently a post-doctoral researcher at the Chair for Information Architecture of ETH Zurich, Switzerland, his research includes the development of the Soundium
multimedia performance platform; (with Steve Gibson) as well as mathematical modeling for the performance of musical gestures and interactive software systems for urban design and simulation. He is co-editor, with Randy Adams and
Steve Gibson, of
Transdisciplinary Digital Art - Sound, Vision and the New Screen
The work he performed at the 2008 Electronic Literature Organization Conference
in Vancouver, WA is a 21st Century reenactment of The Exploding Plastic Inevitable
a seminal multimedia work that was originally created and performed by Andy Warhol with Lou Reed's The Velvet Underground and Nico in the 1960's.
San Francisco Performance of Exploding, Plastic
& Inevitable at Swissnex
Exploding, Plastic & Inevitable
Since Steve Gibson and I are going to present the Exploding, Plastic & Inevitable show (also accompanied by a live audio and visuals workshop) during the conference, it might be best to give some background for the software used there.
Authoring tools we're using
audio: Ableton Live
visuals (Steve): Modul 8
visuals (Stefan): Soundium, see below.
Steve may have to add a few things, he did a lot of custom stuff for other projects, such as Virtual DJ.
At this point I can give more information about the custom software Soundium:
Soundium is a research multimedia authoring and processing
framework. It has been used for many live visuals performances and several digital art installations. However, it is not really an "end user product" and requires a quite a bit of multimedia processing knowledge in order to use it.
written in java and c++, and based on open source software: linux, gcc, x11, ffmpeg, etc.
available for free download
further infos are at:
What They Said
Flash, Sound Studio, Photoshop
Alan Bigelow combines images, text, audio and video to create interactive web-based digital fictions that address contemporary issues including philosophy, religion and the uses of mass media.
His work has been published and/or exhibited at Turbulence.org; Los Angeles Center for Digital Arts; Freewaves; Hallwalls Contemporary Arts Center; The New River; and E-Poetry 2007.
A Professor in the Humanities Department at Medaille College in upstate NY, he was recently a visiting online lecturer in Creative Writing and New Media at De Montfort University, UK
What They Said
What They Said (2008) is an online work which is a commentary on mass media and its use of authoritarian messages, both outright and subliminal, to influence culture and political will. The work is created in Flash and uses a synthesized combination of text, images, video, and audio; its interface is a hybrid of television and radio visual elements intended to enhance the user experience and require their participation in the viewing of the work.
What They Said is meant not just as a commentary on mass media, and how it is used, both intentionally and by media programmers' blind acquiescence to current political paradigms, to distort meaning and manipulate citizens worldwide. It also suggests our own culpability, as the ones who turn on the media devices and listen to the messages. We bear some responsibility for the perpetuation of these messages, and we are the ones, if we have the will, to turn them off.
To progress through What They Said, the viewer must first turn on the media "device." They then use a slider, reminiscent of an old-style radio channel indicator, to "read" the various messages. These messages--instructions for work, family life, cultural beliefs, and aesthetics--are archetypal in nature and use a linguistic double-speak favored by many governments, present and past. The viewer's choice of messages is random, snatched, using the slider, from the static ether visually (and auditorially) presented in the piece. When the last message is read, the piece automatically generates a short closing visual followed by a subtitle. Total viewing time is approximately five minutes.
This work, like all my other work, was created in Flash, with imported files that were edited in Sound Studio and Photoshop. Flash is a very resilient and robust application that is relatively easy to learn and remarkably obedient to the unusual demands of digital storytelling.
Right now, the most interesting challenge to me (other than creating new work!) is how to move online Flash works into the mainstream of gallery shows. In the United States, at least, it appears that many galleries are not used to considering online works as representative material for exhibitions; when asked, though, many are intrigued and ask to see the work, even when it is not within their usual call for submissions.
Part of their reluctance to accept web works/Net Art is the difficulty of pricing such work for sale. Rhizome.org has a revealing interview with Aron Namenwirth of artMovingProjects on this topic
Interview with Aron Namenwirth of artMovingProjects)
The Life of Geronimo Sandoval
Steve Ersinghaus is a digital artist, fiction writer, and poet. He is the author with of
100 Days: 100 drawings 100 poems; (with Carianne Mack)
The Life of Geronimo Sandoval; and the hypertext poem
That Night. (Drunken Boat, Spring 2009)
Steve Ersinghaus earned his Masters in Fine Arts from the University of Texas-El Paso. He teaches writing, literature, and new media at Tunxis Community College in Farmington, Connecticut.
The Life of Geronimo Sandoval
The Life of Geronimo Sandoval, a novel in hypertext, took
approximately four years to complete. I had originally begun the work with a fairly conventional plan: to write a book-based novel. I began with an image, two people talking by a river in southern New Mexico, and quickly realized that the novel and its characters wanted a differentform: the novel needed a form appropriate and implicit to the voice of
its first person narrator/hero, Ham Sandoval.
I found the form with the help of Eastgate Systems'
The initial image of The Life of Geronimo Sandoval became not merely a place to begin writing the novel but an episode within a larger narrative that could appear at any appropriate time given Ham Sandoval's method of storytelling. Storyspace because the appropriate tool to explore Ham Sandoval.
Storyspace is hypertext authoring software. I would also call it an authoring framework. It provides not just the requirements of a word processor or a means of reading and presenting hypertext, but an environment for creating, organizing, revising, visualizing, and distributing hyperlinked works. I could also write the previous sentence this way: Storyspace can be the proper tool for works of art that demand hypertext as an implicit form. What Storyspace provided for Sandoval was a means of finding the voice and logic of the narrative.
In Storyspace's work environment I could find sequences and sections swiftly and accurately and work with multiple writing spaces simultaneously. With Storyspace, the writer may employ a variety of link types to the text as well as control how links behave under certain conditions. Storyspace provides map, chart, and outline views that provide flexible means of examining narrative space. Keyword assignment, search facility, and the ability to import other digital media into the environment make Storyspace a powerful creative tool with
ample aesthetic possibilities not just for the study of technology but of the human lifeworld.
Susan M. Gibb
Flash, Tinderbox, Storyspace
Susan M. Gibb holds an A.S. degree in English from Tunxis Community College and is currently supplementing with courses based in Creative Writing, and New Media. She is a writer of fiction as well as non fiction and poetry, has served as editor of otto, the Tunxis literary journal, and has produced and edited a traditional archery magazine sold in the U.S. and abroad. Her workshop session on "The Hypertext Effect: The Transfiguration of Writing and The Writer" was presented at Hypertext 2008 in Pittsburgh, PA.
She is always working on hypertext projects using Storyspace and Tinderbox software and exporting for presentation online, has published some work on her website,
Hypercompendia, and is currently participating in 100 Days: Summer 2009, a collaboration of individual artists producing a work each day for 100 days. Susan Gibb also
writes online on her websites dedicated to Literature, Writing, Hypertext, New Media forms, and life's "story moments."
My introduction to hypertext was in a contemporary fiction course, and there was a bit of resistance to what appeared to be a jungle of story. However, it intrigued me enough as a writer to want to master not only the reading but the writing of narrative into the hypertext environment.
With the Storyspace program offered by Eastgate Systems in mind, I prepared by planning out what I felt was the perfect story to be told in hypertext. Paths is a story of a couple who fell in love in college and who may or may not have ended up together. What other medium could so entwine
the coulda's, woulda's, and shoulda's of such a basic choice in life?
Once I got the Storyspace software, it was a matter of transferring what were basically four paths of stories into the format. Very, very easy to do. Even though the manual is one of the best I'd ever encountered in its pointed
instructions and illustrations, the software was so well arranged that it wasn't necessary to consult except for specific maneuvers.
I soon realized that the structure I had envisioned for the story was not using Storyspace to its optimum performance capabilities with its opportunities for exploration into time and character. The excellent Map View was the best to work into as it enabled the placement of the parts within the whole. All the originally planned links were severed and I let the stories flow into each other from more natural intersecting points. Past and present have no certainty in this narrative and the interplay of memory and perspective opened a playground for true character development. 75 writing spaces -- or text boxes -- stretched into 300, all because the event of hypertext invites the author to tarry in an area of the mind that might otherwise be kept from the reader.
I am working on more in the Storyspace software and find that as with the first effort, the format focuses on what is vital to a very small portion of story without hindering the creative flow. Particularly in editing, I've found that the writing improves as it seeks the most concise yet imaginative manner of telling a tale; each box of words being self-contained and asking the writer, as much as the reader, to linger a bit, just as does the form of a poem.
The full journey of writing in Storyspace has been documented in my Hypercompendia weblog and can be read at
Sound Forge, Soundtracker Pro, Audacity, Studio Artist, Paint Shop
Pro, the Gimp, GarageBand, Final Cut Express, Windows Notepad
Originally from England, now living in Dublin, "arts explorer"
Dylan Harris is a poet and software engineer whose print and multimedia
poetry has appeared in print and online.
I'll write a poem using pen, paper and beer. I'll use Sound Forge, Soundtracker Pro or Audacity, depending on reverb, to make an MP3 recital. I'll assemble a videocast using the recital, photos processed in Studio Artist (I like it), text in Paint Shop Pro (windows fonts) or the Gimp (unix fonts), in GarageBand (simple) or Final Cut Express (complex). The videocast is posted using iWeb.
Except for videocasts, I prepare web pages using Windows Notepad, because it doesn't exclude things its designers didn't expect.
Signal to Noise, Opening Sources
Ian Hatcher is a writer, musician, and programmer from Seattle. His work has been presented at the 2008 Electronic Literature Organization and Electronic Literature in Europe conferences and published by Counterpath Press.
He is the primary composer for the Chicago-based contemporary dance ensemble The Moving Architects, with whom he performs live.
As of 2009, he is a graduate student in Literary Arts at Brown University.
Signal to Noise, Opening Sources
All my work in elecronic writing has been created for (and often in response to) the architecture of the web. My primary interest for some time now has been the development of adaptive multi-reader texts -- works which track multiple simultaneous readings and navigations and use this data to influence and evolve
content in realtime. No authoring software yet exists with this kind of functionality, at least not for my purposes, so I've been writing the engines myself using a combination of programming languages and libraries. The method I'm using to continuously pass data between a reader's browser
Some software I've found useful:
Aptana, a free and open-source development suite.
MAMP/LAMP/WAMP, free virtual server software. Indispensable when coding in PHP.
TextMate , unfortunately not free, but the best text editor available for OSX.
Inanimate Alice by Kate Pullinger and Chris Joseph
Photoshop, Premiere, Sound Forge, Acid, Flash
Chris Joseph, aka babel, creates electronic literature,
multimedia, and interactive art.
His work has been exhibited internationally, including among many others,
the 2008 Biennale of Sydney; Visionary Landscapes, Electronic Literature
Organization Conference 2008; Digital Media Valencia 2008; Boston Cyberarts,
E-Poetry, and SIGGRAPH.
His current work includes Flight Paths, a "networked novel" funded by
the Arts Council England; Inanimate Alice, a series of interactive
multimedia stories; and remixworx, a collaborative digital remixing community.
From September 2006 until September 2008, he was the first Digital Writer
in Residence at the Institute of Creative Technologies in De Montfort
University, Leicester, UK.
Chris Joseph is editor of the post-dada magazine and network 391.org.
Inanimate Alice is a series of multimedia short stories depicting the life
of a girl growing up in the early years of the 21st century. Across ten episodes,
the story of Alice, games animator, and her one true friend in life, Brad, the game
character she has created, is told using a combination of text, sound, and images.
"Episode 1: China" begins with Alice aged eight and subsequent episodes track her
through adulthood until her mid-twenties. Each episode becomes increasingly
interactive and more game-like, reflecting Alice's own developing skills as a
game designer and animator.
Inanimate Alice represents a project that could not have been created or
distributed without the software developments of the past decade. The series uses
manipulated photographic images, illustrations, video, sound, and text to tell the
story. These elements were created using a PC and various softwares: Photoshop
(graphics), Premiere (video), Sound Forge and Acid (sound effects and music).
Finally Flash is used to combine these elements and create the final work.
Flash offers a method for creative artists to produce high-quality multimedia at
a relatively low cost, and even more importantly, it allows a cost-effective
and simple method for distributing the piece to a worldwide audience.
More specifically, Flash was chosen for the following reasons:
1. It has a very wide user base, so represents a great way to distribute
work online without putting off those users who are unfamiliar with installing
2. It allows the relatively simple creation of randomized, non-linear and
interactive elements. For example, in each episode there are elements that are
generated at random from a set of pre-defined possibilities (such as Ming's
paintings, and the motion of the texts) -- possibilities that can be explored
with this kind of digital animation, as opposed to a linear (filmed) animation;
3. It offers an extremely wide range of animation styles. Movement between scenes
in Inanimate Alice is generally very dynamic, employing slides, pans and
zooms to suggest an animated graphic novel, in a style that blends comic, animation
and film. But techniques and elements of classical animation can also be found
throughout, for example Alice's hand-drawn animations of Brad, or the looping desert
backgrounds in Episode 1 that are reminiscent of early Disney cartoons. All these
styles can be easily explored within the Flash authoring environment.
Flash; XML, X-Lit
Born and raised in Canada and currently living in Menlo Park, California,
Robert Kendall is an e-poetry pioneer, who has been creating interactive
multimedia poetry since 1990.
His book-length hypertext poem, A Life Set for Two, was published by
Eastgate Systems in 1996, and his hypertext poetry has also been published
and exhibited Internationally including The Little Magazine;
Iowa Review Web; BBC Online; Cauldron & Net; Dodge Poetry
Festival; the Second Annual Poetry Video Festival, Chicago; Manhattan
Cable TV; and the Painted Bride Art Center, Philadelphia.
Kendall's printed poetry has appeared in Rattapallax, Contact II,
River Styx, New York Quarterly, Barrow Street, and Indiana Review.
His print work, A Wandering City, (Cleveland State University Poetry Center) won the
CSU Poetry Center Prize.
He is co-developer of Connection Muse, an adaptive hypertext authoring system
for Web poetry and fiction, and his articles and essays about computer technology
and computers in the arts have been widely published including in PC Magazine,
PC Computing, Poets & Writers Magazine, Leonardo, Electronic
Book Review, Cortland Review, Kairos, and Purdue University Press.
Robert Kendall is the host of the website
Since 1995, he has taught hypertext poetry and fiction through the online
program of the New School University in New York.
I created this work in Flash. It makes use of drag-and-drop functions and
transitional fades that very few other delivery systems can create. The
method I use for text-handling is not the one normally employed by Flash
authors. All the text is stored in an XML file, which is read by the work's
SWF file at runtime. This means that I can edit or expand the text of this
work freely without having to recompile the SWF file. I can also easily
organize it into paths and sections/lexias. It's very difficult to work with
large quantities of text in Flash, unless you put the text into external XML
files in this manner.
Pieces is the first step in a large-scale project from which I hope will
eventually emerge an X-Literature XML specification--an XML format that will
allow me and other authors to create complex Flash works solely by creating
content in XML that will be rendered by a Flash-based X-Lit Player. I will
be working in conjunction with the ELO to work out the details of the X-Lit
spec itself. In conjunction with developing a preliminary version of the
spec, I am also building an authoring tool in AIR (a new programming IDE
recently released by Adobe) that will let people create Flash works without
having to use or even own Flash. My XML format currently handles only text,
but ultimately it will also handle graphics, video, and audio, and will
store elements defining animation, interaction, styles, and interface
elements. Preliminary details about the project, which is in its very early
stages, are available at
Prior to working in Flash, I used the Connection Muse to help create most of
hypertext, which I codeveloped with the French computer scientist,
Jean-Hugues Réty (
http://wordcircuits.com/connect). This system allows the
components of a hypertext to respond dynamically to a reader's progress
through the work, changing links and content to suit the current reading
situation. Many of the features of Connection Muse have already been
incorporated into my XML format, and I hope eventually to port all the
system's features to the X-Lit authoring system.
When the X-Lit spec, player, and authoring tool are fully developed they
will allow an author to store in a single XML file all the text and pointers
to external media content for complex hypertexts, interactive pieces, and
animated works. Features not supported by X-Lit can still be implemented
directly in Flash, so an author won't lose any functionality by using the
system, even if it doesn't directly support all desired functions. I'm
excited by the prospects of this system and its new approach, and I hope it
will someday see wide use.
Software: Flash, Sound Forge
Donna Leishman's work is a combination of critical writing and
practice-led research in digital art with a particular interest in the
intersection of narrative with Internet based interactivity. Her
practice has been exhibited internationally both in art and design
contexts. Themes in the research include the aesthetics of dissonance,
visual digital literature and the psychology of literary
Donna Leishman is currently an academic specializing in digital media design at
Duncan of Jordanstone College of Art in the University of Dundee, Scotland.
She was an Emmy award nominee for her work on The Rosie O'Donnell Show,
and her responsive animations have been showcased in The New York Times
and The Guardian Online, as well as exhibited at The Lighthouse, Glasgow, Scotland;
Alt-w: New Directions in Scottish Digital Culture; Studio Zeta, Milan;
the Boston Cyberarts Festival; the DeCordova Museum; Technopoetry Festival,
Georgia Tech; UKinNY Festival, Parsons School of Design, New York;
and Visionary Landscapes, Electronic Literature Organization Conference,
With background as a visual artist and web designer, she has created
a series of visually-rich narratives and fairytales that combine elements of
magic realism and pop culture with animation and interactivity. In her statement
for Authoring Software, she talks about the creation of her classic (launched in 2000)
animated and interactive version of "Little Red Riding Hood", and in particular about
her use of Flash.
"All works are seeded and born within traditional sketchbooks, so I draw everything
first but they grow and become real within the Flash environment," she observes.
More information about Donna Leishman's work can be found on her website at
Donna Leishman: RedRidingHood
The interface, interactivity and animation within RedRidingHood, like
The Bloody Chamber,
Possession Of Christian Shaw and
was entirely produced using Abobe Flash. Simple sound editing software such as
Soundforge or Audacity was used to create and or edit the sound content.
Given my background as a visual artist and web designer the quality of
the graphics were of key importance, Flash offered (and still offers) a
robust yet simple drawing toolbox -- a small sister to professional
vector art packages such as Illustrator and Freehand. In 2000, it was
important to consider the streaming and filesize of the animation
(Broadband wasn't a common luxury), so Flash allowed bigger bang for your
buck in terms of both graphic and animation/movement complexity given
its excellent streaming compression. I had previously written about the problematic aesthetics of early Elit
works which tended to be of poor visual / typographic quality, I argued
that the audience scope was thus limited and rarefied and unlikely to
reach broader public audiences.
I still work entirely within vectors rather than bitmaps, vector
animation rather than video or film. My
PhD thesis touched upon the value or interest in
establishing a sense of digital crafting or the *fragital* -- a hybrid
of detailed line art and a sense of handcrafting, a holographic touch
from the author yet within digital media. All works are seeded and born
within traditional sketchbooks, so I draw everything first but they grow
and become real within the Flash environment.
Flash also allowed me to program and develop actionscript generated
random sequences (within the Dream Sequence in RedRidingHood) and
manage the non-linear narrative structuring. The Flash Player is also
very pervasive and has penetrated the majority of web users. Sound
editing and syncing sound to action and motion remains a fascinating
process and one that, time permitting, I would like to develop so the total
media crafting, image, movement, interaction and audio is completely
Poetic Game Interventions [V.1]
[from the Twittermixed Litterature Series]
World of Warcraft
Australian-based net.artist, Mez Breeze has been creating of Internet-based
code poetry and poetic game interventions for fifteen years.
Her work has been exhibited widely, including ISEA; ARS Electronica;
The Metropolitan Museum Tokyo; SIGGRAPH; The Brooklyn Academy of Music;
New Media Scotland; Laguna Art Museum; Alternator Gallery, Canada;
HTTP Gallery, London; and Postmaster Gallery, New York.
She was JavaArtist of the Year 2001 and in 2002, she was the winner of
the Newcastle Digital Poetry Prize.
Poetic Game Interventions [V.1]
I began my MMOG interventions in the 90's using the
_Everquest_ game interface 2 project/interject in2 the conventional
game-chat stream by riffing off other players chatlines and reworking
chat sections via poetic manipulations. I'd also mangle logs of these chats
and project them into a wider networked sphere by reposting them to various
email list forums.
I'm currently extending this type of poetic intervention/textual reworking of
game_text during my time playing
World of Warcraft. My latest
intervention is titled "Twittermixed Litterature" and involves
WoW characters ["toons"] on the Bloodscalp Server standing in
Ironforge [an in-game location] + live remixing [in_game] chat that
occurs between players and guild/character names that rotate past.
I then remash these lines [+ any feedback I receive in-game from the
players themselves] into a live Twitter stream, making a multi-access
channelling or [as I labelled it in the press releases]: "Twittermixing
prefound identity marker texts from live-time character actions in
World of Warcraft" and "MMO Voyeur Aggregationistic Rem(H)ashing."
Narrative Units --
Code based, networked data visualization
Software tools used: Written in the Python programming language,
and depends on the Python libraries PyGame (for rendering graphics)
and BeautifulSoup (for reading HTML).
Nick Montfort --
Interface/authoring tools are an interesting question to me...
For the last three years or so I've worked almost exclusively within
a command-line interface. My code editor is Vim. Like many CLI users,
I find it efficient and simple - it allows me to think through the
keyboard without a lot of hunting and clicking with the mouse to interfere.
From the perspective of media practice, I see the interfaces I use while
working as very much a part of the work. Here is a screenshot of Narrative Units:
which may explain more visually than I can articulate verbally.
I think the relationship, on the one hand, may have to do with the
parameters/biases imposed by software: Programming languages and
plain-text/code editors offer relatively more freedom of movement
than 'wizards' and options panels (more possibilities for errors isn't
a bad thing either).
Beyond that though I think a plain text interface in the context of a
visual/auditory/networked practice speaks to the soft borders between
those forms and the codes that run through them. The relationship, say
between code that creates an image, the image file, and how it's represented
on a screen, is complex and fascinating. The transformations all happen through
'languages' which are comfortably represented in plain text. I guess, for me,
keeping my working interface within the confines of plain text, while creating
visual/auditory work, keeps me situated within that "boundary" area that I find
Lost One: Curveship, Python
New media writer and scholar
Nick Montfort is the author of the MIT Press books Twisty Little Passages: An Approach to Interactive Fiction (2003)
and Racing the Beam: The Atari Video Computer System (2009, with Ian Bogost) and co-editor of The New Media Reader. (2003, with Noah Wardrip-Fruin)
He founded and blogged at Grand Text Auto, a group blog about computer narrative,
games, poetry, and art, and now blogs about interactive narrative, poetic digital writing, and new media history at Post Position.
Montfort is a leading writer and programmer, whose interactive fiction authoring system,
Curveship, was released in 2011.
His work includes The Purpling; (published in The Iowa Review Web)
Ten Mobile Texts; ("five stories, an aubade, an epic, a sestina, a lipogram, and a ballad for Short Message Service",
published in The New River) and Fields of Dream. (with Rachel Stevens, published in Poems that Go)
Additionally, his work has been exhibited at or published in FILE, Sao Paulo, Brazil; bleuOrange, Montréal, Canada; the Carmen Conde Centenary,
Spain; Cauldron & Net; the Krannert Art Museum, University of Illinois at Urbana-Champaign; the Beall Center for Art + Technology, U.C. Irvine
and the Digital Arts and Culture Conference.
An Associate Professor of Digital Media in the Program in Writing and Humanistic Studies at the Massachusetts Institute of Technology,
Nick Montfort currently serves as the President of the Electronic Literature Organization.
An interesting recent piece for me to mention is Lost One, which has not been released
but was first publicly read at the Open Mic & Mouse, The Future of Electronic Literature
Symposium, (sponsored by the Electronic Literature Organization and Maryland Institute
for Technology in the Humanities) University of Maryland, May 2, 2007.
This piece was written to demonstrate my interactive fiction system Curveship, (formerly
called nn) which is also unreleased. I began work on this system as part of my dissertation
work at the University of Pennsylvania. Curveship is written in Python. It is is currently
a research system -- good enough to prove some points that I have been trying to prove. I am
finishing a more stable and comprehensible version of the system and working on some
longer-form interactive fiction in the system. I hope to release Curveship around the end
of this summer. (2009)
I'm particularly interested in writing e-lit in programming languages that are capable of general
computation. Curveship falls into this category, while also providing specific facilities for varying
the narration of a story independent of what the underlying events are. I'm also currently working
on a series of very small Perl poetry generators and on some story generators in Perl. I have also
written electronic literature in Inform 6, Processing, HTML, Java, the Windows 95 help system,
and plain text.
One of the first creators of new media literature and a distinguished new media writer,
digital artist, and scholar, Baltimore, Maryland native
Stuart Moulthrop is the author
of the seminal hyperfiction
Victory Garden, (Eastgate, 1992), a work that Robert Coover
included in the "golden age" of electronic literature.
His works -- that include Hegirascope, (1995) Reagan Library, (1999) Pax, (2003)
Under Language, (2007) and Deep Surface (2007) -- have been exhibited and or published by
Eastgate, The Iowa Web Review, the ELO Electronic Literature Collection; New River;
Media Ecology; The New Media Reader; Washington State University Vancouver; and
the Digital Arts and Culture Conference. Two of his works have won prizes in the Ciutat de
Vinaros international competition.
Stuart Moulthrop is a Professor in the School of Information Arts and Technologies at the
University of Baltimore where he is the Director of the undergraduate Simulation and Digital
He has served as co-editor for Postmodern Culture, was co-founder of the TINAC
electronic arts collective, and was a founding director of the Electronic Literature
Under Language and Deep Surface
Since the turn of the century, I've been working exclusively in Flash, with
an increasing emphasis on code-intensive, object-oriented projects.
Also important are various tools for generating 3-D images and animations,
including 3DStudio Max and Poser, tools for converting text to artificial
speech, such as TextAloud, and the sound library at Freesound.org
My most recent projects are:
My headlong dive into ever more elaborate code structures has brought my
work closer to the thermocline between e-lit and computer games. Both the
most recent pieces have explicit game features, such as end-of-play
conditions (game over), and scoring systems. You can probably tell that I
spend much time in my day job (which, oddly enough, happens mainly at night)
teaching aspiring game designers how to think with code.
Withal, I remain a compulsively verbal artist, and can't shake the type off
my boot blocks, even as I seem compelled to invent "new disorders" of
writing (as I recently heard John Cayley quote Derrida).
Flash remains a convenient choice for many things -- though it bears noting
that ActionScript 3 demands significantly more patience and attention than
its precursors, and turns casual scripting into something much more like
industrial-strength programming. Adobe seem to assume that graphic
designers and application developers will be happier if their tools clearly
delineate their job functions (i.e., the designers are discouraged from
touching code). I think that's a terrible development for ARTISTS.
In the future, I'd like to build with materials that aren't Adobe -- using
things like Processing, especially the excellent RiTa system from Daniel
Howe at Brown, or a fascinating utility called Dasher, which is a gestural
substitute for keyboard input. Also on my do-list are Inform, the venerable
authoring system for traditional interactive fiction, and of course,
Flash, HTML, Java Script, Photoshop, Final Cut, Logic, QuickTime
Working with photography, video, bookmaking, sequenced images, and sound,
Alexander Mouton creates artists books and electronic works online and in
performance and installation situations.
Produced by Unseen Press, his artists books are in collections Internationally
including the Museum of Modern Art in New York City and the Kunst Bibliothek in Berlin, Germany
He is Assistant Professor of Digital Art & Design at Seattle University in Washington,
where he also teaches artists' book structures.
As a visual and sound artist working also within the form of the artists' book,
I understand net art as a virtual extension of a much older physical tradition
of self-published artists' books. I began working with narrative/poetic artists'
books in the early 90's and began experimenting with Director in 2001 as I was
able to incorporate motion and sound into the mix. I moved thereafter to the
Flash programming environment because it affords a better possibility for
compressing video, still images, and sounds to sufficiently small sizes for
web publishing without sacrificing the aesthetic integrity of the media.
I work with Final Cut and Quicktime Pro for video editing, Adobe Photoshop for
image editing, and Logic and Audacity for sound editing. Currently, I combine the
I can customize the users viewing environment, incorporate interactivity, and
program randomization features to break from traditional linear narrativity
For the piece Velvet specifically, my goal was to produce a highly
interactive environment which was very personal in nature and which immerses
a user inside the mind and identity of the artist for the exploration of
states of mind, dreams, and memory. I was also interested in incorporating
as many media as possible - text, still images, sounds, & video - and to do
so using a diverse body of work from over the past 15 years of my active
art-making. The interactivity plays a significant role, not only for
navigation, but for the generation of meaning. Velvet was designed
with a non-linear narrative in mind, with an overarching structure in place
that allows for a degree of authorial direction amidst the user-determined
Flight Paths by Kate Pullinger and Chris Joseph
Born in British Columbia and based in London,
Kate Pullinger writes for print,
digital media, radio, and film. Her recent work includes the multimedia graphic novel
Inanimate Alice and the networked narrative Flight Paths.
Her works of fiction have been published by Phoenix House, Bloomsbury, Cape/Picador,
Five Star, and Serpent's Tail. She co-wrote the novel of the film The Piano
with director Jane Campion, and from 2001-2007 she was a Royal Literary Fund Fellow.
Her new novel, The Mistress of Nothing, is in press in the UK by Serpent's Tail
and in Canada by McArthur & Co.
Kate Pullinger currently teaches on the MA in Creative Writing and New Media at
De Montfort University, Leicester, UK.
We've been working on Flight Paths for around five months now, and a lot
of that time has been taken up trying to figure out how to make it work.
Despite massive advances and changes on the web over the past few years, it
still remains fairly complicated to create an open access site that can
The first version of Flight Paths went up in a WordPress blog, with the
add-on of CommentPress, the widget created by the Institute of the Future of
the Book that allows us to foreground comments on the right-hand side of the
page, instead of buried beneath each post. While this seemed like a good
idea at the time, this widget was actually created for people to comment on
works that were already written; CommentPress works best when you've got a
draft of a text that you want to allow people to comment on paragraph by
paragraph. It doesn't work so well when the project, like Flight Paths,
is being created afresh.
At the same time as working on the public face of the project, Chris and I
have been busy in the background making links with other organisations,
collecting submissions from interested people, creating our own submissions,
visiting the supermarket in Richmond to make recordings and take photos and
videos, interviewing the journalists behind the original project, etc etc.
After a few months, it began to become clear to us that the wordpress blog
wasn't really the right venue for this project - a blog is a blog, even with
the fab CommentPress widget - and what we are trying to do is not create a
blog. Neither of us are natural-born bloggers, and this project isn't about
writing a blog. Around this time, Netvibes, a homepage application that we
had both been using, launched Netvibes Universes, and this seemed like the
ideal platform to move 'Flight Paths' to - we'd always wanted to be able to
curate the web for this project, to be able to collect things from all over
the web, as well as collecting submissions. The Universe does in fact work
well as a curatorial platform, although, inevitably, we've had mails from
some of our contributors saying they can't get the Universe boxes to open.
However, quite apart from whether or not the Universe works across various
browsers and operating systems, another issue for us is where to house the
discussions that arise out of the submissions and from the various issues
and themes behind the project. With the CommentPress widget the blog was
almost okay for discussions, though we have never used the blog as a blog
and have always manipulated the posts, using the Table of Contents the
CommentPress widget created, trying to keep numbers of posts to a mininum in
order to stop entries from being buried in the blog archive. This was quite
labour intensive, and also counter-intuitive -- again, trying to make a blog
resemble something that isn't a blog -- so recently we've decided that, for
discussions, we should use a forum. We've put a forum up in the Flight
Paths universe, and are currently pondering how best to organise it.
All of this has been slow and time-consuming; I've found I've needed ages to
ponder it all and get my head round how best to make this project work
online. Doubtless we will continue to tweak it as it grows.
Stephanie Strickland and Cynthia Lawson Jaramillo
Interactive poetry pioneer
Jim Rosenberg has been working with with non-linear
poetic forms since 1966, and his Diagrams Series 4 was published on the
seminal Art Com Electronic Network on the WELL. His visually elegant,
word-dense, spatial hypertexts -- including
The Barrier Frames and Diffractions Through -- are published by Eastgate.
His work has also been performed, published and/or exhibited at The San Francisco
Poetry Center; Intersection, San Francisco; Cody's, Berkeley; St. Mark's Church
in the Bowery, New York; The Kitchen, New York; Harvard University sponsored by
The Grolier Poetry Bookstore; Leonardo; E-Poetry; and the
Electronic Literature Organizaton Conference.
Rosenberg is an influential hypertext and new media poetics critic and researcher,
whose writing has been published in the ACM Hypertext Conferences and the
Electronic Book Review, among others.
He lives in Pennsylvania with his wife, painter Mary Jean Kenton.
I have come to believe that authoring systems are the problem, not the
solution; the short answer to what authoring system I use is: I don't.
The authoring system should be smashed -- to smithereens. Let the
smithereens loose. What I use is not an authoring system but an
ecosystem for nurturing feral smithereens.
This means: the object of attention is (surprise): the object. Authoring
is not something you "do" in an "authoring system" -- as opposed to
some other habitat of the object as encountered by the reader; authoring
is just something naturally there, as a normal function of what an object
does. It is not something you turn "on" but something you might decide
to turn "off". "Playing" is not something that you do in some separate jail
called a "player" or something you do inside that prison otherwise known
as "web browser window", it is something the object naturally does. In
place. Feral. Loose on the desktop, perhaps. Or if it's in a specific place,
a place that you made -- the place is itself an object. Everything is an object.
In this environment there is no boundary between "playing" and "authoring".
There are only objects that behave. Some behaviors modify the object,
some don't. Some behaviors modify other behaviors, some don't.
Some behaviors I had to code myself, most I didn't.
The concern is not authoring, but doing: What does the word object do,
what can you do to it, with it, for it (or even against it.)
An object space. An open object space. Generic enough that I don't
have to write all the code, but open meaning I can write my own
code and insert it into the space so there is no boundary.
So, of course there is "a system"; I'm not supporting my poetry
in an environment I programmed 100% myself in machine language
from bare metal -- no one would do that. The object system I use
is called Squeak. You could argue, I suppose, that there is no real
difference between Squeak and an authoring system, but most authoring
systems are not so generic. The list of packages which have been
produced in Squeak is quite broad, resembling a scaled-down list
of packages available for a generic operating system. The Squeak
"World" could easily serve as the main GUI desktop for an operating
system, as Gnome or KDE does for Linux.
This is just a snapshot. For a more serious write-up, I still stand by
about the Second Move", which appeared in Cybertext Yearbook
2002-2003, and for the technicalities, "Hypertext in the Open Air: A Systemless
Approach to Spatial Hypertext", (pdf) from the Third Workshop on
Spatial Hypertext at Hypertext '03.
is the author of V, which was one of the first works of literature to
appear simultaneously both in print, V: WaveSon.nets/Losing L'una, Penguin, 2002, and on the Web, V: Vniverse.
Her cyberpoem True North was published in print by the University of Notre Dame Press and as a work of literature on disk by Eastgate.
True North was awarded the Ernest Sandeen Poetry Prize,
the Alice Fay di Castagnola Award from the Poetry Society of America, and the Salt Hill hypertext prize. V: WaveSon.nets/Losing L'una
also received the Alice Fay di Castagnola Award.
Strickland's digital works include V: Vniverse, with Cynthia Lawson Jaramillo; Errand Upon Which We Came, with M.D. Coverley;
Ballad of Sand and Harry Soot; and slippingglimpse, with Cynthia Lawson Jaramillo and Paul Ryan.
Print scores for the Ballad and slippingglimpse appear in her book, Zone : Zero, which was published by Ahsahta in 2008.
slippingglimpse was introduced at E-Poetry in Paris and featured at
E-poetry in Barcelona. Her poetry has also been published/exhibited by
The Paris Review, Grand Street, New American Writing, Fence, Black Clock, Zoland Poetry, Vlak,
The Poetry Foundation, The Iowa Review Web, Cauldron & Net, Drunken Boat,
Hyperrhiz: New Media Cultures, Word Circuits Gallery, Blue Moon, The New River, Furtherfield, and Poets for Living Waters.
Her essays about electronic literature appear in Leonardo Electronic Almanac, ebr, Isotope, and volumes from MIT Press and Intellect Press Ltd.
A member of the Board of Directors of the Electronic Literature Organization, she edited
the first volume of the Electronic Literature Collection with Kate Hayles, Nick Montfort, and Scott Rettberg.
She also co-edited an issue of The Iowa Review Web.
Stephanie Strickland has taught hypermedia literature as part of experimental poetry at many colleges and universities,
most recently in the PhD poetry program at the University of Utah. She lives in New York City.
Cynthia Lawson Jaramillo
is a New York City-based digital artist and educator,
whose innovative work utilizes incremental streams of words and/or
photographs to create new media art and literature.
Her work has been exhibited and/or performed at the Modern Museum of Art;
(Bogota) Hammer Museum; (UCLA) Exit Art Gallery, NY; CalArts;
Rhode Island School of Design; Net Art Columbia; E-Poetry;
and the 2008 Electronic Literature Organization Conference, among others.
She an active member of Madarts, an arts collective based in Brooklyn, NY.
Cynthia Lawson Jaramillo has taught art and design courses in Colombia,
South America; New York; Guatemala; Dominican Republic; and Japan.
She is currently Assistant Professor of Integrated Design in the School
of Design Strategies at Parsons The New School for Design in New York City.
Vniverse and slippingglimpse
1-Why did we use Director for Vniverse and Flash for slippingglimpse;
or, what is the relationship of interface/content to the tools we used?
V: VNIVERSE: Our original thought was to use VRML, or to make an installation,
to actually seem to move in a three-dimensional star space-to turn to look at different texts
as you turn in space and trigger the stars. Perhaps, today, were we at Brown or someplace
with a CAVE, it would be possible to work out such a piece for a CAVE.
But in fact in 2000, we used Macromedia Director because it was the most widely
used multimedia authoring tool at the time, and it was what Cynthia was using
in graduate school. The biggest problem was drawing the constellations, getting
the lines/diagrams to be dynamically generated whenever anyone rolled over or
clicked a star.
The biggest ongoing challenge is to make sure our projects are up-to-date and
viewable as hardware and software changes at such a fast pace.
SLIPPINGGLIMPSE: The main reason for using Flash for slippingglimpse
was so that we could dynamically animate and visually layer text on top of videos.
Director can't do it. You can track motion and layer text on video in Processing,
but Processing requires a Java applet on the viewer's machine that is not as widely
adopted as the Flash player, and we wanted the project as accessible online as possible.
As well, Cynthia was interested in learning Flash. However we wished to do things
that Flash barely supports, certainly not Flash 7. Fortunately Flash 8 came out
just in time to do our project. There is a new bitmap API in version 8 that
facilitated the motion capture script. We continued to have problems with how
many pieces of text we can use at once. Doing multiple things at once and drawing
them is something Flash 8 is still pretty clunky at. Therefore we had to break
down the poem text and select something like 10 to 15 phrases ranging in length
from 1 to 7 words to be dynamically chosen and drawn in the full-screen
(water as reader) mode of the piece.
2-How has our use expanded new media practice?
V: VNIVERSE: To our knowledge it hasn't, but we believe the Vniverse
interface is capable of being generalized. At a reading at U. California Santa Barbara,
an audience member felt it was a widely usable data visualization. It combines diagrammatic
structures with text in a pleasing way.
We feel the most interesting aspect of the programming is that the whole program happens
in one frame, and therefore time is generated via coding and not a timeline.
Sticking to one frame allowed us to dynamically generate the animations of text and
of constellations, as opposing to predetermining and then animating them. We wanted
to create a space that would allow infinite possibilities for interaction and not
one where we had to predict how users would interact.
SLIPPINGGLIMPSE: We haven't seen any other video-based Flash pieces
with dynamic layering of text elements. We have seen motion capture programming
in performance and installation work, but not much online and rarely with text.
3-What is the relationship between the print work and e-work;
or, what is the relationship of interface and content?
SLIPPINGGLIMPSE: There is an ecologic-philosophic practice of threeing
(described in Paul Ryan's book, Video Mind, Earth Mind) that is related to the
three-mode structure of slippingglimpse. In this digital poem, we aim to give
equal weight to two kinds of language: to weight natural languages and human readers
equally with non-human languages-and non-human readers. The computer is, of course, a
non-human reader; but, in this piece, so is the water-and the water, as well, is a
non-human text, a text affected by gravity, by chaotic attractors and catastrophic
changes in state, patterning itself, resolving its interior motions into forms that
continuously renew. These forms are called chreods.
In slippingglimpse, water (in the 10 ocean videos) is the first reader.
We track the water reading by using motion capture coding that assigns the
text to locations of movement in the water. The metaphor is that the water's
motions provide a scanning, as our eyes scan text. This aspect is best read
in the full-screen mode.
In turn, in the scroll-text mode, the poem-text tracks, or reads, image/capture
technologies by sampling and recombining the words of visual artists who use digital
techniques. It combines their words with Strickland's own-and with words from an old
folktale, The Passion of the Flax, which explores the very oldest capture
technologies, such as harvesting plants for food and flax for paper.
Completing this "round-robin" of reading, image-capture videography-and-video-editing
read the water's flow pattern, reading for and enhancing these patterns to which
dynamical systems return even as they continuously change. The high-resolution mode
shows the chreod patterns best.
With respect to V: Vniverse and True North, versions of question 3
were posed in Jaishree K. Odin's Iowa Review Online interview
Hello World: travels in virtuality
telnet://lambda.moo.mud.org:8888 type 'co guest' to connect
Born and based in England, writer/new media writer
founded the seminal trAce Online Writing Centre in 1995. Her online
writing projects include the The Noon Quilt, a collaboratively-created
new media "quilt" of art and writing and the online forum Writing and the
Digital Life that explores digital technologies, writing, and lived
Published by Raw Nerve Books, Overlook, The Women's Press and Five
Leaves, among others, her print works include the cyberspace travelogue
Hello World: travels in virtuality; Correspondence; (short-listed
for the Arthur C. Clarke Award for Best Science Fiction Novel) Water;
and Wild Women: Contemporary Short Stories By Women Celebrating Women.
She is currently writing
The Wild Surmise, about relationships between
cyberspace and the natural world.
Sue Thomas is Professor of New Media in the Institute of Creative
Technologies and the Faculty of Humanities at De Montfort University.
Hello World: travels in virtuality
I fell into LambdaMOO in 1995 and knew immediately that it would change
my creative life for ever. Until then I had written text, but at Lambda
I could actually live in it, be made of it, and travel along it. I had no
idea what would happen as I began to learn how to be an artist of the MOO,
but I hung out in The Living Room ( @go #17 ) making a nuisance of myself
with Francesca da Rimini (Gashgirl) and other members of the Australian
feminist performance group VNS Matrix, and experimented with virtual presence
at a number of online events which exhorted participants to be ready to sit
by their computers for hours at a time ("Bring sandwiches" said an invitation
email) and playing around with our identities until everyone's heads were
spinning. I was writing all the time, but it wasn't a book, it was a life.
Entire days were spent typing, and I often turned on a capture file to log
every interaction, every conversation, every line of code. I built rooms,
emotions, and people. I morphed from one persona to another and swam around
in a mess of ego, mine and others, learning not just who I really was but
also who I really might be.
I wanted to write about LambdaMOO but I didn't know how. For several years
I tried to write a novel set there, but it was banal and embarrassing,
demanding enormous footnotes explaining to the reader exactly how it
really is possible to sit in a virtual hot-tub ( @go #388 ), have virtual
sex, or communicate telepathically. In the end I gave up - indeed, I gave
up writing altogether in despair at what seemed to be the limitations of
words. But it was only temporary. About a year later I had a revelation
when I realised there was no need to wrap the whole experience up into
fiction. What I needed to do was write about it as nonfiction. After all,
it was indeed very real, not just to me but to hundreds of others who
spent part of every day in text-based virtuality. Those imaginative
people at Raw Nerve Books picked it up and were enthusiastic about
providing a webview as well where I could add on all those extra
elements that only come to you after a book has gone to print, and
so in 2004, nine years after my first visit to LambdaMOO, Hello World:
travels in virtuality was published in hard copy and I, at last,
felt I had got to grips with my virtual life and could finally relax.
The Hot Tub
The hot tub is made of molded fiberglass: on three sides a bench will
seat five comfortably (and ten who are friendly), and on the fourth
side there is contoured couch for one luxurious soak. There are two
rubber mounted buttons here. You may push either the right or left
button. The rising sun puts a rosy glow on everything. The
underwater light is on. The bubbling jets are on.
You see thermometer and Hot Tub Bar here.
Aaaahhhh! The water is at that perfect
temperature where you can just lie in here forever.
Hello World: travels in virtuality is made with object oriented
programming via the LambdaMOO Core; lots of post-its and small notebooks;
manuscripts created with A4 paper and inscribed by nice black pens
(medium tip) then typed up in Microsoft Word; ink, print and paper via
Raw Nerve Books; PDF downloads; Typepad blogging software, and the user's
I am now working on The Wild Surmise, a study of nature and
cyberspace which aims to bring the virtual and the material even closer
Born in Mexico City, Eugenio Tisselli is a writer and programmer, whose work
includes artists software, social technologies, and digital narratives. His
installations, performances, software and text works have been featured in publications,
festivals and exhibitions around the world, and he collaborates regularly with artist
Antoni Abad at the mobile phone networking site
Since 1999, when he wrote the first version of his MIDIPoet software, he
has created a series of visual poetry performance works composed with sound,
projected words, and visual images. Sometimes starting with a few words and building
-- in conjunction with sound -- to the incluusion of graphic images, photographs, and
arranged words; sometimes combining still phrases with moving words and performer
actions, his work highlights the relationship of letters to words and groups of words,
as well as the relationship of the performer to the words in ways that are important to an
exploration of reading/viewing text in the development of new media literature.
Tisselli has been an associate researcher at Sony Computer Science Lab
in Paris. He currently teaches at and is co-director of the Master in Digital Arts
at the Pompeu Fabra University in Barcelona.
For his contribution to Authoring Software, he writes about the creation
and uses of MIDIPoet software.
More information about Eugenio Tisselli's work can be found at
Back in 1999, when I wrote the first version of MIDIPoet, software for the
real-time manipulation of texts and images via MIDI was either expensive or
very difficult to use. (and in some cases, both) So, my aim was to develop
a software tool that would be powerful, easy to use, and that would allow me
(and others) to compose and perform interactive pieces of visual poetry.
In its current version, (which was released in 2002) MIDIPoet consists of
two applications: MIDIPoet Composer and MIDIPoet Player. As their names suggest,
Composer contains a set of tools for creating MIDIPoet pieces, and Player
performs them. The MIDIPoet environment has its own programming language,
made up from relatively complex text commands. In order to make things
easier, (and allow other people to approach the tool with realtively little pain)
MIDIPoet Composer offers a visual way of creating MIDIPoet pieces, so there
is no need to write code. MIDIPoet itself was written in a combination of C++
and Visual Basic, and only runs under Windows. It is available for free
MIDIPoet has been used in different contexts: digital poetry performances,
interactive installations and even VJ sessions. Of course, it offers very
limited possibilities when compared to other current electronic literature
authoring software; yet I find that MIDIPoet is interesting precisely
because of its limitations. I believe that every tool potentially
pre-determines the results of its usage, imprinting its recognizable
marks onto the pieces created with it. I also find that there are very
few tools oriented towards performative electronic literature. The fact
that MIDIPoet can be controlled either by the computer's keyboard or
almost any MIDI instrument makes it a very adequate tool for live
Here are some of my videos of my MIDIPoet performances:
http://www.youtube.com/watch?v=NhGHN3pnvps (Barcelona, 2008)
(E-Poetry, Barcelona, 2009)
And finally, a poetry performance / concert by Christopher Funkhouser using
http://www.youtube.com/watch?v=t9PkkqOzCf4 (ELO-AI, Brown University, 2010)
Screen: Cave Writing;
Role Playing Games
Newmedia writer and scholar Noah Wardrip-Fruin is a co-creator of Screen, a virtual
reality narrative on the walls of a room-sized space. "Memory texts appear on the Cave's
walls, surrounding the reader. Then words begin to come loose. The reader finds she can knock
them back with her hand, and the experience becomes a kind of play - as well-known game
mechanics are given new form through bodily interaction with text." he writes to
describe this work in
The author of four MIT Press books, including The New Media Reader;
(2003 with Nick Montfort) and Third Person: Authoring and Exploring Vast
Narratives; (2009, with Pat Harrigan) he is also a co-host of
Grand Text Auto,
a group blog about computer narrative, games, poetry, and art.
His work has been exhiited and/or publshed by the Guggenheim Museum; Sandra Gering
Gallery; SIGGRAPH; Whitney Artport; Hypertext 2004; Boston Cyberarts
Festival; Beall Center for Art + Technology, UC Irvine; Leonardo; and
the Iowa Review Web among others.
Noah Wardrip-Fruin is Assistant Professor in the Department of Computer Science
at the University of California, Santa Cruz.
Probably my most interesting work, from this perspective, is Screen.
When we were moving the Brown Cave from the SGI/Irix machines to
IBM/Linux machines, we knew we had to do major work to translate
the piece. So we decided to start over from scratch, creating an
approach to literary work in the Cave that became the basis for the
Cave Writing software project that continues today.
Here's a SIGGRAPH sketch on the initial work:
Here's the website with some information on the current effort:
And, in terms of my writing, you might be interested in these sections from
my forthcoming book that talk about the platforms used for story/game RPGs
and how they shape the experience:
Finally, yes, the Software Studies initiative is quite connected to these questions.
We're hoping to have a meeting next year to discuss the platforms/software used by
elit authors. I'm really looking forward to hearing more of what you find.
The Way North: Dreamweaver; Photoshop
Born in New York City, writer, critic, digital artist
Joel Weishaus has lived
and worked in the West -- the San Francisco
Bay Area, Taos, Albuquerque -- for many years. He now makes his home
in Portland, Oregon.
His writing and digital literary art have been exhibited and/or published by City Lights
Books; North Atlantic Books; Albuquerque Museum; Stanford University Museum of Art;
Adleburg Poetry Festival, Adleburg, England; Electronic Language International
Festival, San Paulo, Brazil; and The 2008 Electronic Literature Organization Conference;
Joel Weishaus has been a photography critic for Artspace: A Magazine of Contemporary
Southwest Art, and an Adjunct Curator (Video Art) at the University of New Mexico
He is presently writing and distributing an online journal,
The Gateless Gate, which
is "a walk for the sake of walking about the rugged trails of existence-non-existence,
switchbacking the sacred and profane."
The Way North
Dreamweaver is the central program I use for digital projects, an apt name for work
that goes a-dreaming, and everything seems to end up there. I also use an old version
of Photoshop, mainly for sizing photographs, and an array of smaller programs.
It's not the technology that interests me, and certainly not the interrogation of code,
but how language finds itself somewhere else, and sheds its limitations.
The Way North was originally titled "The Idea of North," as homage to an old
CBC radio broadcast by a genius named Glenn Gould. I chose "The Way" over
"The Idea" to indicate movement that's not only in the head, but kinesthetic too,
The project's theme is climate change, the importance of which I suggest visual
artists and poets haven't touched yet in any meaningful way. Focused on the
folkways of the Inuit People, whose culture has been the hardest hit, their
experience is one indicator of the future distress this planet is facing. A
northerner by temperament, who exiled himself in a southwestern desert for
23 years, The Way North is also a celebration of finding my way home.
I call the genre of my digital work, Digital Literary Art, which is the dream of
combining text and image begun during the Upper Paleolithic on cave walls
and itinerant rocks, and realized here primarily with text: how to write it
across and down a monitor; how to work it into a larger vision of itself.
There are also photographs, some sound, and animations, with text boxes
triggered by hidden links. In fact, all the links are hidden, my request being
that the reader caress the page to see what opens up.
I am a first-generation digital literary artist. Having grown up in front of a typewriter,
I was dragged to the computer, where I now comfortably live. For now at least,
what holds the two paradigms together is the keyboard, whose basic layout
remains the same. Like the land bridge that once spanned the Bering Strait,
we have something solid over which fingers walk and minds leap, so far.
The Qi Project, 2008
Flash, Final Cut, Perl, CGI
Born in California,
Nanette Wylde lives in Redwood City and
Chico, California. Her language-centered work includes artists books,
interactive net art, and audio-visual textual narrative.
Her work has been exhibited widely including Computers and Writing 2009, UC Davis;
Olive Hyde Art Gallery, Fremont, CA; Purdue University; Los Angeles Center for
Digital Art; The Portland Art Center; The Krause Center for Innovation Art Gallery;
Euphrat Museum, Cupertino; The Lab, San Francisco; Rhonda Schaller Studio, New York;
Telemar Cultural Center, Rio de Janeiro; Merced College Art Gallery; Works, San Jose;
University of British Columbia, Canada; Diablo Valley College, Pleasant Hill;
International Meeting of Experimental, Sound and Visual Poetry, Buenos Aires, Argentina;
Nanette Wylde is an Associate Professor, California State University, Chico,
Department of Art and Art History.
The Qi Project
When I began working with interactive technologies in 1994 my
software of choice was Director. Changes in both the software and OS X
have made Director less workable for me. Some of my early projects
created in Director became inoperable in OS X or technical changes
were too big to remake them and maintain the original aesthetic of
the project. This has made me a bit wary of overly specialized and
system dependent software. Currently for interactive projects I
primarily use Flash. I respond to its flexibility and stability (for
However, the technology I use is very dependent on the needs of the
project. I still find myself working in web-based programming
using Director to revive some of my earlier OS9 projects, I haven't
begun a new project in Director for at least five years.
About The Qi Project
The Qi Project is an inquiry into the nature of humanity and what it
means to be human at this moment in time. Qi is a Chinese word which
literally means 'air' or 'breath.' It is considered to be the
circulating life force. The Qi Project exists as (1) a gallery
installation (2) a website (3) a process-based intervention. The
gallery installation includes: two channel video, text and audience
participation. The website: represents the interventions; includes
elements in exhibition; and invites participation. The intervention
is the process and residue of questioning: What does it mean to be
human? What is humanity? This was done via postcards, email,
telephone, website, and in front of a camcorder. The Project was
launched at The Krause Center for Innovation Art Gallery in Los Altos
Hills, California in February 2008. Continuing is the companion website.
About the Authoring Software Website
Authoring Software is a collection of information about new media authoring tools, statements by
authors and software creators; and information about conferences, books, and programs organized
by and for the electronic literature community. Authoring Software is a website-based
learning environment for: teachers and students of new media writing who want to explore various
authoring environments; new media writers and poets, who are interested in how their peers approach
their work; and readers, who want to understand how new media writers and poets create their work.
The project currently contains documentation of work by new media writers, text artists,
and story-tellers from all over the World, including New York, Chicago, Colorado, California,
Oregon, Vermont, Massachusetts, Rhode Island, Washington State, Maryland, rural Ohio, rural
Pennsylvania, Connecticut, Canada, Australia, England, Ireland, Spain, and Switzerland.
From many countries, from rural and small town areas, as well as from urban and suburban
areas, the many new media writers who are represented in this project are an indication of the
importance of this field in fostering digital media and learning throughout the world.
Featured software includes commercial applications such as Flash and Dreamweaver;
applications created for the hypertext and educational community such as Storyspace
and Literatronica; and artist-developed software, such as Fox Harrell's GRIOT System,
Snapdragon, created in Caitlin Fisher's AR Lab at York University, and Eugenio Tisselli's
As a research tool, guide, and information resource for new media writers and creative writing teachers,
Authoring Software highlights best practices and recommends appropriate tools to both veterans
and new-comers to the field. Authoring Software's Editor in Chief is new media poet, writer, and editor,
The Authoring Software project was begun in conjunction with the 2008 Electronic Literature Organization
Conference in Vancouver, Washington. Participants in the 2008 Electronic Literature in Europe
Conference in Bergen, Norway were also invited to contribute. The project was featured at the
Computers and Writing 2009 Online Sessions, hosted by the University of California at Davis.
In 2010 a News and New Books section was added, as well as separate pages for Software Applications.
New Media Writing
New media writing (also known as hypertext literature, electronic literature, digital literature,
e-poetry, born-digital literature, net narrative, net art, or interactive literature) is computer-mediated
writing that uses computer technologies to create new narrative forms which may be hypertextual,
multi-pathed, nonlinear, exploratory, interactive, software generated, kinetic, performative,
collaborative, installation-based, augmented reality, immersive, social media-based, and/or inherently visual.
It may also be multimedia, utilizing combinations of image, sound, text and/or video.
The process of creating new media literature is complex, and there are
many choices of paths. Authoring Software looks at the creation
of new media art as a whole process, also interviewing software creators
and including other information about applications software and new media writing,
such as publications, conferences, and software details. And it looks at the relationship
between interface and content in new media writing with a focus on how the
innovative use of authoring tools and the creation of new authoring tools have
expanded digital writing/hypertext writing/net narrative practice.
return to Authoring Software
About Judy Malloy
Judy Malloy is a new media poet, who has been working in the field of computer-mediated literature
for 25 years. In addition to editor of one of the first online publications devoted to
art and technology, Leonardo Electronic News, (that later became Leonardo Electronic Almanac)
she has experience as a database programmer and technical information specialist. She was
also a core member of the mid 1980's influential software on art discussions on Art Com Electronic Network,
of the Arts Wire team that worked with technology transfer in the arts beginning in the early years of
the public Internet, and of the 2012 Critical Code Studies Working Group. She is the editor of the
MIT Press compendium, Women, Art & Technology, and her papers include "Creative Approaches to New Media" (in Education and Technology: Critical
Perspectives and Possible Futures, Lanham MD, Rowman and Littlefield, 2007) She is the
also author of Judy Malloy, "Authoring Systems", in
Johns Hopkins Guide to Digital Media and Textuality, edited by Lorie Emerson,
Marie-Laure Ryan, and Benjamin Robertson. Johns Hopkins University Press,in press, 2013
A pioneer on the Internet and in electronic literature, Malloy followed a vision of hypertextual
narrative that she began in the 1970's with experimental artist books created
in card catalog and electro-mechanical structures, and in 1986 she wrote and programmed
the seminal hyperfiction Uncle Roger. In the ensuing years she created a series of innovative
hypernarratives works published by Eastgate and on the Internet, including its name
was Penelope and l0ve0ne, the first selection in the Eastgate Web Workshop.
In 1993, she was invited to Xerox PARC where she worked in Computer Science Laboratory as
the first artist in their artist-in-residence program. In 1994, she created one of the first
arts websites, Making Art Online. (currently hosted on the website of the Walker Art Center)
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
Her work has been exhibited and published internationally including the 2008 and 2010
Electronic Literature Conferences, San Francisco Art Institute, Tisch School of the Arts, NYU,
Sao Paulo Biennial, the Los Angeles Institute for Contemporary Art, Boston Cyberarts Festival,
The Walker Art Center, Visual Studies Workshop, Environmental Film Festival Ithaca, NY,
Eastgate Systems, E.P. Dutton, Tanam Press, Seal Press, MIT Press, The Iowa Review Web,
and Blue Moon Review. 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 Contempory 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.
She is currently creating a new work, From Ireland with Letters.
For information about the Authoring Software project, email Judy Malloy at firstname.lastname@example.org
April 6, 2014
Writers and Artists
Talk about Their Work
and the Software They
use to Create Their Work
__Interview with Mark Bernstein
J. R. Carpenter
The Broadside of a Yarn
Chronicles of Pookie and JR
Egypt: The Book of
Going Forth by Day
Mark C. Marino
__Nick Montfort and
Sea and Spar Between
__Nick Montfort and Stephanie Strickland
Sea and Spar Between