About the Collection
Dublin Core
Title
About the Collection
Description
This essay, written by MITH's Associate Director Matthew Kirschenbaum, describes the Deena Larsen Collection's artifacts and impact.
Creator
Matthew Kirschenbaum
Date
2009
Format
Word Document
Document Item Type Metadata
Text
Receiving the Deena Larsen Collection
In May of 2007, MITH received the extraordinary gift of Deena Larsen’s personal collection of early-era personal computers and software. Deena is an author and new media visionary who has been active in the creative electronic writing community since its inception in the 1980s. In addition to being a writer and thinker, Deena has also been a collector and an amateur archivist (or, as we sometimes say of amateurs, a hoarder). Collecting and hoarding, it turns out, are essential activities, since too few of our cultural institutions and repositories are yet engaged with acquiring and saving the rich and various creative legacy we have inherited from the first generation of personal computing. The arrival of Deena’s collection at MITH furnishes us with invaluable source material which will further our in-house research in digital curation and preservation, as well as function as a unique resource for the growing number of researchers interested in early hypertext and electronic literature.
The collection consists of a diverse array of hardware, electronic data, and documentary materials. As Deena writes in an autobiographical statement she submitted with the collection:
[W]e had wild and infrequent Mountain Men Jamborees of the early hypertext writing. [. . .] These gatherings were more to acknowledge each other’s work and to encourage writers to soldier on, to continue explorations and intrigue than to create an orderly community. I conducted writers workshops at these conferences and even online. We worked together to develop critiques—but more importantly methods of critiques—of hypertext, as well as collections of schools of epoetry, lists and groups. And thus I have been lucky enough to receive and view texts in their infancy—during the days when we thought floppy disks would live forever. And thus I amassed this chaotic, and perhaps misinformed treasure trove that I could bequeath to those interested in finding the Old West goldmines of the early internet days.
The collection therefore includes not only Deena’s own extensive literary output, but original and sometimes unpublished material by nearly every author in her circle, effectively making it a cross-section of the electronic writing community during its key formative years (roughly 1985-1995). The files contain multiple versions of Deena’s Marble Springs and other Hypercard works (some unpublished), multiple versions of her Samplers and other Storyspace works (some unpublished), multiple versions of nationally recognized poet William Dickey’s electronic works, Dickey’s student work, nationally recognized poet Stephanie Strickland’s works, M.D. Coverley's works, Kathryn Cramer’s works, If Monks had Macs, the Black Mark (a hypercard stack developed at the 1993 ACM Hypertext conference), Izme Pass, Chris Willerton’s works, Mikael And’s works (the author himself no longer has copies), Jim Rosenburg’s works, Michael Joyce and Carolyn Guyer’s works that were in progress, Stuart Moulthrop’s works, George Landow’s works and working notes, textual games from Nick Monfort, Coloring the Sky (a collaborative work from Brown in 1992-94), and Tom Trelogan’s logic game. The hardware in the collection consists of eight Mac Classics, a Mac Plus, and associated accessories; the physical media includes some 800 diskettes, as well as nearly 100 CD-ROMs and Zip disks. The collection also contains manuscripts, newspaper clippings, books, comics, manuals, notebooks, syllabi, catalogs, brochures, posters, conference proceedings, ephemera, and a shower curtain, about which more below.
To give some further sense of the collection’s unique character, it is worth describing Deena’s best-known published work, Marble Springs. Marble Springs is a fiction written in Hypercard, and published on disk by Eastgate Systems in 1993. It tells the story of a set of interwoven women’s lives in a Colorado mining town in 1870s America. This work is represented in the collection by materials as diverse as published copies of the text, versions in various states of completion and composition (some of them annotated and extended by other individuals, a practice Deena encouraged), the only hard copy manuscript of the text (titled “Old Wives’ Tales”), Deena’s MA thesis on the project, notes and correspondence related to its publication by Eastgate, a hand-made “cozy” Deena would drape over the Mac running Marble Springs during public exhibitions, and a shower curtain to which Deena had affixed laminated screenshots and connected them by colored string, to visually map the work’s system of links and relations. What immediately becomes apparent is not only the richness of the electronic composition that is Marble Springs, but in fact its complex hybrid status as a transmedia artifact, encompassing materials both analog and digital. We believe that such hybrid, transmedia works are not anomalous but in fact typical of the kind of cultural heritage libraries and repositories will have to learn to curate and archive in the years to come.
And so the collection now resides at MITH, much of it is visible in the display cases in our conference room; it is indeed a treasure trove. With its opportunities, however, also come responsibilities. All of the material Deena has given us is in significant jeopardy, since software formats and physical devices are so fragile and vulnerable to obsolescence. Developing tools and best practices with which to ensure that this data can be migrated to future platforms and systems, while also ensuring its integrity—integrity as both a digital object and as a creative artifact—will be central to our work with it in the coming years. Indeed, we expect the collection to furnish the basis for both local and more distant collaborations, ranging from students in the English department and Information School at Maryland to the handful of archives and repositories elsewhere that have also begun collecting born-digital literary material in a serious way.
All of the physical items in the collection, including each individual diskette, has been cataloged and labeled with a unique identifier, and users can consult spreadsheets as preliminary finding aids. (John Murray, Helen DeVinney, and Amanda Visconti have all contributed to this work.) We have also completed an initial pass at imaging the data on the diskettes, CDs, and Zip cartridges in the collection (thanks to Zeynep Sumer). We encourage persons who might be interested in visiting MITH to work with the Collection to contact us at mith@umd.edu.
Matthew Kirschenbaum
Associate Professor of English and Associate Director,
Maryland Institute for Technology in the Humanities
In May of 2007, MITH received the extraordinary gift of Deena Larsen’s personal collection of early-era personal computers and software. Deena is an author and new media visionary who has been active in the creative electronic writing community since its inception in the 1980s. In addition to being a writer and thinker, Deena has also been a collector and an amateur archivist (or, as we sometimes say of amateurs, a hoarder). Collecting and hoarding, it turns out, are essential activities, since too few of our cultural institutions and repositories are yet engaged with acquiring and saving the rich and various creative legacy we have inherited from the first generation of personal computing. The arrival of Deena’s collection at MITH furnishes us with invaluable source material which will further our in-house research in digital curation and preservation, as well as function as a unique resource for the growing number of researchers interested in early hypertext and electronic literature.
The collection consists of a diverse array of hardware, electronic data, and documentary materials. As Deena writes in an autobiographical statement she submitted with the collection:
[W]e had wild and infrequent Mountain Men Jamborees of the early hypertext writing. [. . .] These gatherings were more to acknowledge each other’s work and to encourage writers to soldier on, to continue explorations and intrigue than to create an orderly community. I conducted writers workshops at these conferences and even online. We worked together to develop critiques—but more importantly methods of critiques—of hypertext, as well as collections of schools of epoetry, lists and groups. And thus I have been lucky enough to receive and view texts in their infancy—during the days when we thought floppy disks would live forever. And thus I amassed this chaotic, and perhaps misinformed treasure trove that I could bequeath to those interested in finding the Old West goldmines of the early internet days.
The collection therefore includes not only Deena’s own extensive literary output, but original and sometimes unpublished material by nearly every author in her circle, effectively making it a cross-section of the electronic writing community during its key formative years (roughly 1985-1995). The files contain multiple versions of Deena’s Marble Springs and other Hypercard works (some unpublished), multiple versions of her Samplers and other Storyspace works (some unpublished), multiple versions of nationally recognized poet William Dickey’s electronic works, Dickey’s student work, nationally recognized poet Stephanie Strickland’s works, M.D. Coverley's works, Kathryn Cramer’s works, If Monks had Macs, the Black Mark (a hypercard stack developed at the 1993 ACM Hypertext conference), Izme Pass, Chris Willerton’s works, Mikael And’s works (the author himself no longer has copies), Jim Rosenburg’s works, Michael Joyce and Carolyn Guyer’s works that were in progress, Stuart Moulthrop’s works, George Landow’s works and working notes, textual games from Nick Monfort, Coloring the Sky (a collaborative work from Brown in 1992-94), and Tom Trelogan’s logic game. The hardware in the collection consists of eight Mac Classics, a Mac Plus, and associated accessories; the physical media includes some 800 diskettes, as well as nearly 100 CD-ROMs and Zip disks. The collection also contains manuscripts, newspaper clippings, books, comics, manuals, notebooks, syllabi, catalogs, brochures, posters, conference proceedings, ephemera, and a shower curtain, about which more below.
To give some further sense of the collection’s unique character, it is worth describing Deena’s best-known published work, Marble Springs. Marble Springs is a fiction written in Hypercard, and published on disk by Eastgate Systems in 1993. It tells the story of a set of interwoven women’s lives in a Colorado mining town in 1870s America. This work is represented in the collection by materials as diverse as published copies of the text, versions in various states of completion and composition (some of them annotated and extended by other individuals, a practice Deena encouraged), the only hard copy manuscript of the text (titled “Old Wives’ Tales”), Deena’s MA thesis on the project, notes and correspondence related to its publication by Eastgate, a hand-made “cozy” Deena would drape over the Mac running Marble Springs during public exhibitions, and a shower curtain to which Deena had affixed laminated screenshots and connected them by colored string, to visually map the work’s system of links and relations. What immediately becomes apparent is not only the richness of the electronic composition that is Marble Springs, but in fact its complex hybrid status as a transmedia artifact, encompassing materials both analog and digital. We believe that such hybrid, transmedia works are not anomalous but in fact typical of the kind of cultural heritage libraries and repositories will have to learn to curate and archive in the years to come.
And so the collection now resides at MITH, much of it is visible in the display cases in our conference room; it is indeed a treasure trove. With its opportunities, however, also come responsibilities. All of the material Deena has given us is in significant jeopardy, since software formats and physical devices are so fragile and vulnerable to obsolescence. Developing tools and best practices with which to ensure that this data can be migrated to future platforms and systems, while also ensuring its integrity—integrity as both a digital object and as a creative artifact—will be central to our work with it in the coming years. Indeed, we expect the collection to furnish the basis for both local and more distant collaborations, ranging from students in the English department and Information School at Maryland to the handful of archives and repositories elsewhere that have also begun collecting born-digital literary material in a serious way.
All of the physical items in the collection, including each individual diskette, has been cataloged and labeled with a unique identifier, and users can consult spreadsheets as preliminary finding aids. (John Murray, Helen DeVinney, and Amanda Visconti have all contributed to this work.) We have also completed an initial pass at imaging the data on the diskettes, CDs, and Zip cartridges in the collection (thanks to Zeynep Sumer). We encourage persons who might be interested in visiting MITH to work with the Collection to contact us at mith@umd.edu.
Matthew Kirschenbaum
Associate Professor of English and Associate Director,
Maryland Institute for Technology in the Humanities
Files
Citation
Matthew Kirschenbaum, “About the Collection,” The Deena Larsen Collection at the Maryland Institute for Technology in the Humanities, accessed October 7, 2018, https://mith.umd.edu/larsen/items/show/166/.
