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Published by Center for Book Arts, University of Pennsylvania Press. Ashbaugh took him seriously, took him further; Gibson was recruited shortly after.
Johns Hopkins University Press. Agrippa contains engravings by artist Dennis Ashbaugh and an on-disk semiautographical poem by William Gibson… Kirschenbaum, Matthew G.
University of Michigan Press. One of the most evocative hypertexts published in the s was Agrippa: A Book of the Dead.
Agrippa was a collaborative project among book publisher Kevin Begos, artist Dennis Ashbaugh, and author William Gibson, best known as the author of the previously mentioned Neuromancer, the most influential cyberpunk science-fiction novel.
Agrippa, however, is something quite distinct. Described as "a black box recovered from some unspecified disaster," Agrippa opens to reveal charred-edged pages, covered with repeated letter patterns Laura Lambert, Chris Woodford, Hilary W.
Hackers needed only three days to crack the encryption code — copies of "Agrippa" soon began circulating on the Internet and, since Gibson did not use email, fans sent hacked copies of the poem to his fax machine.
Extra text link Abbott, Chris Agrippa was extremely influential. It was important both for its effect on the artistic community, who began to see the potential of electronic media, and for the extent to which it entered public consciousness.
Extra text link Barber, John New Worlds, New Words. William Gibson, inventor of the term cyberspace , published, in , Agrippa , a book that self-destructed as it was read.
Extra text link Johnston, John What makes Agrippa important, then, is not only its foregrounding of mediality in an assemblage of texts but also that media in this work are explicitly as passageways to the realm of the dead.
Extra text link Walker, Janice The Columbia Guide to Online Style. A Book of the Dead originally pointed to http: This book, then, is an example of the ephemerality of all text, both traditional print and hypertext.
Center for Book Arts. The etchings were made by the artist and editioned by Peter Pettingill on Fabriano Tiepolo paper.
The book was handsewn and bound in linen by Karl Foulkes. The housing was designed by the artist, and the encryption code used to destroy the story was created by BRASH , with help from several other individuals who will go unnamed.
It was printed by the Sun Hill Press on Mohawk Superfine text and the reproduction of the etchings were printed on a Canon laser printer. The book was Smythe sewn at Spectrum Bindery and is enclosed in a clamshell box.