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Profiles

Professor Michael Punt

Professor of Digital Art and Technology

School of Art and Media (Faculty of Arts & Humanities)

Qualifications

Michael Punt BA MA PhD ILTA

Professorof Art and Technology, 

International co-editor,Leonardo

Editor-in-Chief Leonardo Reviews

Michael Punt is a Professor of Art and Technology at the University of Plymouth. He is the

founding convenor of Transtechnology Research which has a constituency of 20 international

doctoral, post-doctoral and visiting researchers who use a range of practice and theory based

methods in making apparent evidence of human desire and cultural imperatives as they are

manifested in the way that science and technology is practiced, innovated by entrepreneurs and

interpreted by its users. Topics currently being researched concern the historical and philosophical

aspects of nineteenth century media and contemporary digital technology, cinema and the

technological imaginary, cognitive aspects of industrial design, affective interaction and

instrumentation, spatial awareness in scientific representation, and sustainable new materials for

artefact engineering.

He is an international co- editor for Leonardo and Editor-in-Chief of Leonardo Reviews that

publishes in excess of 150 reviews each year on science technology and the arts. He has founded

Leonardo Quarterly Reviews, an experimental publishing platform published through MIT Press

and UT Dallas, which is a digest of review items contextualized by newly commissioned essays

on ‘burning issues’ in the art, science, technology debates. He is also a founding member of the

Leonardo book series committee and advisor to Consciousness, Literature and the Arts (Rodopi).

Michael Punt practiced and exhibited internationally as a sculptor and film maker until 1990 when

he brought the experience of his practice and research into film history to bear on a revisionist

account of early cinema history as a consequence of a research grant at the University of

Amsterdam. He subsequently extended this into a wider consideration of the cognitive

determinants of technological form in audio visual media. He has jointly produced two books,

made 15 films and published over 100 articles on cinema history and digital technology in key

journals. Between 1996 and 2000 he was a monthly columnist for Skrien, the Dutch journal of

audiovisual media, writing on the interaction between the internet and cinema as it was

developing. In the past five years he has given papers and keynotes in more than a dozen countries

and is working on a two-volume book project on new technology and imagination during the

twentieth century.

He is a member of the AHRC Strategic Reviewers Group and is a reviewer and panel member for

AHRC and EPSRC, the National Endowment for the Humanities, as well as for funding agencies,

in USA, Canada, Portugal and the European Commission. He is also a member of the UK JHEP

advisory board on cultural heritage.

His current academic functions at Plymouth are as a full-time research professor responsible for

leading interdisciplinary research projects across the University with teaching responsibility for

PhD supervision exclusively at Plymouth and external MSc Holistic Science dissertation

supervision at Schumacher College.

A full cv is at: www.trans-techresearch.net

Roles on external bodies

2013. AHRC DigitalTransformations in the Community Panel.

2013. Reviewer, FWT(Austrian Science Fund).

2013. NationalEndowment for the Humanities, Digging into Data Panel

2013. Foundation forScience and Technology, Portugal; Cultures and CulturalProduction Evaluation Panel.

2013. AHRC StrategicReviewers’ Group.

2012. Foundation forScience and Technology, Portugal; Cultures and CulturalProduction Evaluation Panel.

2012. UK AdvisoryCouncil on Cultural Heritage, JHEP.2011.

2011/12. AHRCResearch Grant Panel 2

2010. ResearchSteering Committee. Humanities as a Source of Creativity (HERA).

2010. MetadesignNetwork, Kyung Hee University S. Korea.

2010. SteeringCommittee. ISEA 2011.

2010. EuropeanScience Foundation, Reviewer Pool

2009. TIF Forum,Yonsei University, Seoul.

2009. Advisor,Technology-Imagination-Future: Journal for Transdisciplinary Knowledge Design.

2008. AcademyScience and Arts of Finland. Reviewer.

2008. ScientificCommittee. Less Remote. International Congress of Astronauts.

2007. RCUK, Sciencein Society, Advisory group, RiR Scheme.

2007. Board, GreatWestern Research.

2007. ContributingEditor, Consciousness, Literature and the Arts.

2007. Reader, RodopiPress.

2007. Trustee, JagoEliot Foundation.

2007. EditorialBoard, Journal of Writing and Creative Practice.

2006-2010. AHRCPostgraduate Awards Panel.

2005-2016. AHRC PeerReview College.

2003. EditorialBoard, Refractory: a Journal of Entertainment Media.

2003. Academicreferee. Intellect Books.

2001. Board.Leonardo Book Series, MIT Press.

2001. Advisor,academic referee, MIT Press/Leonardo Book Series.

2000. Board, Leonardo/ISASTInternational Advisory Board.

1999. Academicreferee, Convergence, Artificial Life and Society.

1998. Academicreferee, Leonardo.

1998. Editor inChief, Leonardo Reviews.


Teaching interests

Technology and Culture

- art and technology

- scienceand technology as a history of ideas

- popular interpretations of science in the late nineteenth century

Film Studies and Cinema History

- early cinema and technology

- early film form

- cinema history and theory

Technology and Historiography

- interpretations of nineteenth century ideas in science and technology

Research interests

Technology and Culture

- art and technology

- scienceand technology as a history of ideas

- popular interpretations of science in the late nineteenth century

Film Studies and Cinema History

- early cinema and technology

- early cinema film form

- cinema history and theory

Current projects:

The Technological Imaginary:Science, Technology and the Popular Imagination

Other research

early television
early cinema
telepathy and parapsychology in cinema

Grants & contracts

Research grants and contracts


Large Grants:

2013- 2016- Co-Investigator, EU FP7 Marie Curie Initial Training Network, ‘CogNovo:

Cognitive Innovation’. €4.1m. This grant funds 14 PhD bursaries. Parallel to this scheme

Plymouth University also offers to 12 UK doctoral bursaries for research at the intersection of

cognition, creativity, the arts and humanities.

2010 – 2013 PI and Project Leader, project “Technology, Exchange and Flow: Artistic Media

Practices and Commercial Application”. Funded by HERA, Humanities in the European Research

Area. Value € 1M. Co-investigator, Dr. Martha Blassnigg. (Delivered in collaboration with VU

University Amsterdam, University of Applied Arts Vienna, Eye Film Institute Netherlands,

Institute for Sound and Vision Hilversum).

Small Grants:

2012/13. Principle Investigator, HERA Knowledge Transfer project “Advertising and the

Sublime”. Delivered in collaboration with Utrecht University, EYE Film Institute Netherlands and

Netherlands Institute for Sound and Vision. Value €40k. Co-investigator, Dr. M. Blassnigg.

2011 – 2013. Principal Investigator; International Network for Transdisciplinary Research

(INTR), Plymouth. University. Bringing together experts from the sciences and humanities to

develop transdisciplinary methodologies. Value £22,000.

2010. Leverhulme Trust Visiting Fellow Grant (for Prof. Jahrmann at Plymouth).

2007. Project Leader, AHRC ICT Methods Network Workshop: Immersive Vision Theatres and

Strategies for Knowledge Transfer, Value £2.500. Co-investigator, Dr. M. Blassnigg.

2006. Port Eliot, and AFoundation, research grant £6,000.

2005. Wellcome Trust/Theatre Royal Plymouth (TR2), research grant. Physical Theatre and

Knowledge Transfer. £1,000

2005. Wellcome Trust/Theatre Royal Plymouth, small research grant, Theatre of Science.

1992 -1996. Assistente in Opleiding



Bursaries attached to research projects:

2013. MARIE CURIE (INT), PhD Scholarship (four).

2010. CAPES, Brazil PhD Scholarship (two).

2010. HERA (ESF), PhD Scholarship.

2009. UoP, PhD Scholarship.

2009. AHRC, PhD Scholarship.

2008. FCT Portugal, PhD Scholarship.

2006. AHRC, PhD Scholarship.

2005. EPSRC, PhD Scholarship.

Michael Punt BA MAPhD ILTA Professor of Art and Technology, University of Plymouth Internationalco-editor, Leonardo Editor-in-Chief Leonardo Reviews

Education,Teaching and Research Appointments

1964. – 1968. BathAcademy of Art, Fine Art, Sculpture.

1968. – BA (Hons)CNAA.

1968. – 1969. ToyDesigner, Eldon Industries, Middlesex.

1969. – 1974.Lecturer in Fine Art, Ulster Polytechnic.

1974. – 2000.Senior Lecturer in Sculpture, Newport School of Art and Design.

1984. – 1988.Course Leader: BA (Hons) Interactive Art, (UWCN).

1988. – 1998.Programme Leader: Film and Cinema Studies, (UWCN).

1989. – 1990.Research leave: University of East Anglia, Norwich.

1992. – 1996. AIO, University of Amsterdam.

1996. – 2000.Columnist , Skrien.

1998. – Directorof Postgraduate Studies, School of Art and Design, (UWCN).

1998. – ongoing.Editor-in-Chief, Leonardo Reviews.

2000. – PhDUniversity of Amsterdam.

2000. – ongoing.Leonardo/ISAST Advisor Board, Leonardo Book Series.

2000. – 2003.Deputy Director of Centre for Advanced Inquiry into the Interactive Arts,(CAiiA), University of Wales College, Newport (UWCN).

2004. – Member,Institute of Teaching and Learning in Higher Education (ILT).

2004. – Director,MetaTechnology Research, University of Wales, Newport

2004. – SeniorSupervisor, Planetary Collegium, University of Plymouth.

2005. – Reader inDigital Art and Technology, University of Plymouth.

2006. – ongoing.Professor of Art and Technology, University of Plymouth.

Service:

ongoing:

2013. AHRC DigitalTransformations in the Community Panel.

2013. Reviewer,FWT (Austrian Science Fund).

2013. NationalEndowment for the Humanities, Digging into Data Panel

2013. Foundationfor Science and Technology, Portugal; Cultures and CulturalProduction Evaluation Panel.

2013. AHRCStrategic Reviewers’ Group.

2012. Foundationfor Science and Technology, Portugal; Cultures and CulturalProduction Evaluation Panel.

2012. UK AdvisoryCouncil on Cultural Heritage, JHEP.2011.

2011/12. AHRCResearch Grant Panel 2

2010. ResearchSteering Committee. Humanities as a Source of Creativity (HERA).

2010. MetadesignNetwork, Kyung Hee University S. Korea.

2010. SteeringCommittee. ISEA 2011.

2010. EuropeanScience Foundation, Reviewer Pool

2009. TIF Forum, YonseiUniversity, Seoul.

2009. Advisor,Technology-Imagination-Future: Journal for Transdisciplinary Knowledge Design.

2008. AcademyScience and Arts of Finland. Reviewer.

2008. ScientificCommittee. Less Remote. International Congress of Astronauts.

2007. RCUK,Science in Society, Advisory group, RiR Scheme.

2007. Board, GreatWestern Research.

2007. ContributingEditor, Consciousness, Literature and the Arts.

2007. Reader,Rodopi Press.

2007. Trustee,Jago Eliot Foundation.

2007. EditorialBoard, Journal of Writing and Creative Practice.

2006-2010. AHRCPostgraduate Awards Panel.

2005-2016. AHRCPeer Review College.

2003. EditorialBoard, Refractory: a Journal of Entertainment Media.

2003. Academicreferee. Intellect Books.

2001. Board.Leonardo Book Series, MIT Press.

2001. Advisor,academic referee, MIT Press/Leonardo Book Series.

2000. Board,Leonardo/ISAST International Advisory Board.

1999. Academicreferee, Convergence, Artificial Life and Society.

1998. Academicreferee, Leonardo.

1998. Editor inChief, Leonardo Reviews.

ResearchDegree Completions

Len Massey, Royal College of Art, (M.Phil),Thesis: Electrostatic Imaging and Performance (1998). Professor Bill Seaman,CAiiA Thesis: Recombinant Poetics; Emergent Meaning as Examined and Exploredwithin a Specific Generative Virtual Environment (1999). Dr. Jonathan Bedworth,CAiiA Thesis: Artificial Life Programming for Musical Composition (2001). Dr.Martha Blassnigg. University of Wales. The Cinema and its Spectatorship: TheSpiritual Dimension of the ‘Human Apparatus’ (2007).

Dr Joanna Griffin, Transtechnology Research.

Dr David MacConville.

Dr. Chris Speed. Transtechnology Research. ASocial Dimension for Digital Architectural Practice (2007).

Dr. Stephen Thompson. TranstechnologyResearch. Industrial Design Discourses (2008).

Dr Martyn Woodward, TranstechnologyResearch.Sensual Communication: Toward and Embodied Model of VisualCommunication. (ESF)

Dr. John Vines, Transtechnology Research,Design, Technology Age Related Cognition. (AHRC) (2010)

Dr. Hanah Drayson, Transtechnology Research,Bio-feedback Technologies. (EPSRC) (2011)

Current PhD Supervision

Taslima Begum,Trantechnology Research. Design practice and Post-colonialism. Rita Cachão,Trantechnology Research. Space as Khora in design. (Portugal Govt) Guy Edmonds,CogNovo. The Flicker effect.

Amanda Egbe,Trantechnology Research. Modelling moving image archives.

Agatha Haines.CogNovo, Ideas Exchange.

Theo Humphries,UWIC. Humour and Design

JaneHutchins, Trantechnology Research.

Abigail Jackson,Transtechnology Research. - Technology and Human Interaction in AutismMovement Therapy (AHRC funded)

Jacqui Knight,CogNovo. Collaboration. Len Massey, Transtechnology Research. Earth Sound:Listening to Our Planet.

Claudy Op denKamp, Trantechnology Research. Orphan archives. (UoP)

Nicholas Peres.Transtechnology Research. Medical simulation. Marcio Rocha, Software Studiesand Mental Models. (CAPES)

EugeniaStamboliev, CogNovo.

Jason Stansbie.Transtechnology Research.

Kyoko Tadoka.Transtechnology Research.

Phil Ellis, JohnLogie Baird / BBC experimental broadcast of the play The Man with theFlower in his Mouth

PhDExamining

Dr JosephNechvatal, Immersive Ideals/Critical Distances. (1999). Dr Miroslaw Rogala, DividedWe Stand: Interactive Installations. (2001). Professor Victoria Vesna,Networked Public Spaces: An Investigation into Virtual Embodiment.(2002). Professor Christa Sommerer, Creating Complexity Through Interaction.(2003). Dr. Jude James, University of the Arts, Wimbledon. (2003). DavidTopping, University of Plymouth. (2008). Dr. Peter Beyles, University ofPlymouth. (2009). Dr. Mike Leggett, Sydney University of Technology (2009). Dr.Max Schleser, University of Westminster (2009).

Grants& contracts

Research Grants

2012/13. ProjectLeader, HERA Knowledge Transfer project “Advertising and the

Sublime”.Collaboration with Utrecht University, EYE Film Institute Netherlands andNetherlands Institute for Sound and Vision. Value € 40k. Co-investigator, DrMartha Blasnigg.

2010 – 2013Project Leader, project “Technology, Exchange and Flow: Artistic MediaPractices and Commercial Application”. Funded by HERA, Humanities in theEuropean Research Area. Value € 1M. Co-investigator, Dr Martha Blassnigg. (Incollaboration with VU University Amsterdam, University of Applied Arts Vienna,Eye Film Institute Netherlands, Institute for Sound and Vision Hilversum).

2010. CAPES PhDScholarship (x2).

2010. Leverhulmetrust Visiting Fellow Grant ( Prof. Jahrmann).

2009. UoPPostgraduate Scholarship.

2009. AHRCPostgraduate Scholarship.

2008. PostgraduateScholarship: Portuguese Government

2007. ProjectLeader, AHRC ICT Methods Network Workshop: Immersive Vision

Theatres andStrategies for Knowledge Transfer, Value £ 2.5k. Co-investigator, Dr MarthaBlassnigg.

2006. Port Eliot,and AFoundation, research grant.

2005. WellcomeTrust/Theatre Royal Plymouth (TR2), research grant. Physical Theatre andKnowledge Transfer. Value £ 1k.

2006. AHRCPostgraduate Scholarship.

2005. EPSRCPostgraduate Scholarship.

2005. WellcomeTrust/ Theatre Royal Plymouth, research grant.

1992 -1996.Assistente in Opleiding Film en televisiewetenschap, University of Amsterdam.

 

 

 

Michael Punt:publications:

Chapters inAnthologies, Articles,

Chapters in Anthologies

2013. StartPlaying, IN Jahrman, M., Felderer, B. (eds). Play/Prosume Schleichende Werbungund schnelle Avantgarde. Nuernberg: Verlag fuer Moderne Kunst, pp. 43-48.

2013. Blassnigg,Martha, Punt, Michael. “Transdisciplinarnost: izzivi, pristopi in priložnostina pragu zgodovine”, trans. Ana Flac, Helena Fošnjar, Snežana Štabi. In:(NE)ODVISNI (NE)ZAVISNI INDEPENDENT. (eds.) Snežana Štabi, Žiga Dobnikar, DejanPestotnik. Slovenia: KID / ACE KIBLA, pp.14-28, pp. 84-95 and pp. 151-163.

2013. StartPlaying, IN Jahrman, M., Felderer, B. (eds). Play & Prosume. Nuernberg:Verlag fuer Moderne Kunst, pp. 43-48.

2013. Image, Lightand the Passage to the Semi-Material Object. IN: Blassnigg, M et al. (eds)Light Image and Imagination. Amsterdam: AUP. pp.193-214.

2013. Blassnigg,M., Punt., M. Transdisciplinarity: Challenges, Approaches and Opportunities onthe Cusp of History.SEAD: http://seadnetwork.wordpress.com/draft-overview-of-a-report-on-the-sead-white-papers/

2011. ‘Grinding ARidge’, in Kluszczynski, R. (ed.) W strone trzeciej kultury. Koegz ystencjasztuki, nauki i technologii. Towards the Third Culture. The Co-existence ofArt,Science and Technology. Gdansk: Laznia CCA, pp. 110-123.

2011 ‘CombinandoTecnologias: primeiro cinema, cultura popular e o imaginário tecnológico’(transl. by Cleomar Rocha and Júlio César dos Santos), Z Cultural, RevistaVirtual do Programa Avançado de Cultural Contemporânea, Ano VII(02), ISSN1980-9921. [Online]. Available at: http://revistazcultural.pacc.ufrj.br/combinando-tecnologias-primeiro-cinema-cultura-popular-e-o-imaginario-tecnologico-michel-punt/ (Accessed: 16 December 2011).

2010. AccidentalMachines: The impact of Popular Participation on Computer Technology. IN: TheDesigned World: Images, Objects, Environments Victor Margolin (Author, Editor),Dennis Doordan (Author), Richard Buchanan (Author, Editor), Dennis P. Doordan(Editor). Oxford: Berg. pp. 167-1882009.

2009. Technologyand Metaphor. REAL Yearbook of Research in English and American Literature. Ed.Herbert Grabes, Ansgar Nünning. Tübingen: Gunter Narr Verlag. (in press).

2008. Synchronyand the Semi-Material Object. In Ascot, R., et al New Realities: BeingSyncretic. Springer: New York. pp.224-228

2008. Play Orbit:jungando con la historia del juego, and . Play Orbit a Play on the History ofPlay. In: Dragona, D., et.al. (eds). Homo Ludens Ludens. Gijon: Laboral.pp. 134-149 and pp. 254-260

2008. Reflectionsin a Laser Disc. In: Kooijmn, J., Pisters, P., Strauven, W., (eds.) Mind theScreen: Media Concepts according to Thomas Elsaesser. Amsterdam: AmsterdamUniversity Press. pp. 267-276.

2006. Introduction.In: Punt, M., Pepperell, R., (eds). Screen Consciousness: cinema, mind andworld. Amsterdam: Rodopi.pp.13-27.

2006. ShapingConsciousness: New Media, Spirituality, and Identity. In: Punt, M., Pepperell,R., (eds). Screen Consciousness: cinema, mind and world. Amsterdam:Rodopi. Pp.60-73.

2006. Another Viewfrom the Blender. In: Roy Ascott, Engineering Nature: Art and Consciousnessin The Post-biological Era. Intellect: Bristol. Pp. 39-47.ISBN1-84150-128-X

2003. (with RobertPepperell). Art at the Boundary of Science and Consciousness In Emma Posey, ed.Remote. Cardiff: Bloc Press. pp. 21-26. ISBN 0-9544935-0-8

2003. ThePostdigital Multiverse. In: Katia Maciel, ed. Redes Sensoriais: arteciência, technologia. Rio de Janeiro: Contra Capa Livaria. Pp. 309 – 317.ISBN 85-86011-74-

2003. The JellyBaby on My Knee. In F. Elvers, L. vd Velden, P. vd Wenden, eds. The Art ofProgramming. Amsterdam: Sonic Acts Press. pp. 40-47. ISBN 90 6617 279 7

2002. More Signthan Star: Diana, Death and the Internet. In: A. Ndalianis, ed. Stars in OurEyes: The Star Phenomenon In the Contemporary Era. Westport: GreenwoodPress. pp. 85-102.ISBN 0-27597480-4

2001. Not Scienceor History: postdigital biological art and a distant cousin. In: R. ASCOTT, ed.Art, Technology, Consciousness: mind@large. Exeter: Intellect Books. Pp.24-28. ISBN 1-84150-041-

1999. Casablancaand Men in Black: consciousness, remembering and forgetting. In: R. ASCOTT, ReframingConsciousness. Exeter: Intellect. Pp. 38-42. ISBN 1-84150-031-5. Also athttp://mitpress.mit.edu/e-journals/Leonardo/articles/punt1.html, (LeonardoElectronic Almanac).

1997. El elefante,la nave special y la cacatua blanca, arqueologia de la imagen fotografica In:M. LISTER, ed. La imagen fotografica en la cultura digital. Barcelona:Paidos.

1995. Theelephant, the spaceship and the white cockatoo; an archaeology of digitalphotography. In: M. LISTER, ed. Photography in the Age of Digital Culture.London: Routledge, pp. 51-77. ISBN 0-415-12126-6.

1991. PUNT, M, andWELLS, L. Abstraction. In: C. BARBER, S. KIVLAND, and C. LEYSER, eds. ReadingThe Glass: Management of the Eyes; Moderation of the Gaze. London:Bookworks, pp. 91-108.

Books

2006. withPepperell, R. (eds). Screen Consciousness: cinema, mind and world.Amsterdam: Rodopi.

2003.Editor, Proceedings of the Fourth CAiiA-STAR Conference, ConsciousnessReframed, Perth: University of Curtin ISBN 1 74067 272 0.

2000. withPepperell, R. The Postdigital Membrane: connecting imagination,technology and desire. Exeter: Intellect Books. ISBN 01-992306-69-5(revised and reprinted 2005).

2000. EarlyCinema and the Technological Imaginary. Amsterdam: Postdigital Press. (Selfpublished thesis). ISBN 0-9538332-0-8.

Refereed Journal Articles

2011. CombinandoTecnologias: primeiro cinema, cultura popular e o imaginário tecnológico, deMichel Punt – tradução Cleomar Rocha e Júlio César dos Santos, Z Cultural 02

2008. ‘Play Orbit:a Play on the History of Play’, Technoetic Arts: A Journal of SpeculativeResearch 6:2, pp. 135-148.

2006. withBlassnigg, M., Surman, D., From Mélièse to Galaxy Quest: the Dark Matter ofHuman Imagination. Leonardo, 39 (1) pp. 13-18 +p.30 illus. ISNN0024-094X.

2005. What ShallWe Do With All Those Old Bytes? Saving the Cinematic Imagination in thePostdigital Era. Design Issues. 21 (2). Pp. 48-62.

2005. ArsElectronica 2004 Timeshift – the world in twenty-five years Linz 02.09.04-07.09. 04. Convergence. London: John Libby. Pp. 12-15.ISNN 1354-8565

2004. Orai and theTransdiciplinary Wunderkamer. Leonardo, 37 (3) pp. 21-23. ISNN0024-094X.

2004.d-cinema-déjà-vu. Convergence. London: John Libby. Pp. 14-28.

ISNN 1354-8565

2004. Renaming theFuture. (Editorial) Leonardo, 37 (1) p.3. ISNN 0024-094. pp.3-5.

2004. ArsElectronica: an Overview. I’ Journal. New Delhi: Habitat Center: India.

2004. APostdigital Universe. Technoetic Arts. (1)3. pp. 191-200. ISSN: 1477965X

2003. The Martianin the Multiverse. Refractory. 3. ISNN 1447-4905.

http://www.ahcca.unimelb.edu.au/refractory/pp.1-19.

2002. A Taxi Rideto Late Capitalism: Hyper Capitalism, Imagination, and Artificial Intelligence.Artificial Intelligence and Society. (16) 4 pp. 366-376. ISSN: 0951-5666

2002. New Mediaand Transdisciplinarity. Tom.comhttp://arts.tom.com/zhuanti/punt/index.html

also at: http://arts.tom.com/zhuanti/hszsd/index.html

2002. ThePostdigital Analogue and Human Consciousness. Leonardo. 35 (2) pp.119-120. ISNN 0024-094X

2002. ArsElectronica. Leonardo. 35 (2), pp. 220-221. ISNN 0024-094X.

2002. ArsElectronica, Linz, Austria, 1-6 September 2001(review): Convergence. 8(1), pp. 102-106 ISNN 1354-8565

2002. SymbioticA:fish and chips. Art Press. pp. 43-44. ISSN 0245-5676

2001. PostClassical Cinema and the Digital Image. Convergence. 6(2), pp. 62-76.ISNN:1354-8565

1999. NowaTechnologia, Stare Problemy, trans. Stawowczyk, E. OPCJE. 4 (27), pp 16-23.ISSN 1230-9982.

1999. CD-rom:Radical Nostalgia, trans. Gauget, B. Compacts, Rennes: PressesUniveritaires De Rennes, pp. 60-84. ISBN 2-86847-381-4.

1998. ASpeculative Bibliography of Art and Consciousness: An introduction. Convergence,4(3), pp. 114-116. ISNN 1354-8565

1998. and ASCOTT,R. A Speculative Bibliography of Art and Consciousness. Convergence,4(3), pp. 116-134. ISNN 1354-8565.

1998. DigitalMedia, Artificial Life and Post Classical Cinema: Condition, Symptom or aRhetoric of Funding? Leonardo 31 (5), pp. 349-356. ISNN 0024-094X Alsoat http://www.unibo.it/parol/files/parol.htm, (University of Bologna) and www.nydigitalsalon.org1998. Accidental Machines:Understanding How We Understand New Technologies. Design Issues. 14(1),pp. 54-80. ISNN 0747-9360. Also at http://www.unibo.it/parol/files/parol.htm,(University of Bologna).

1997. DiePanorama-Ansichten in Execution of Czologosz. Kintop 6, pp. 89-95.Frankfurt: Stroemfeld/Roter Stern. ISBN 3-87877-786-8.

1996. ImpossibleArchaeology. In: M. BAL, and T. ELSASSER, ed. Brief Issues in CulturalAnalysis. Kampen: Kok Pharos. Pp.177-180. ISBN 90-390-0242-8.

1995. CD ROM:Radical Nostalgia? Leonardo, 28(5), pp. 387-394. ISNN 0024-094X.

1995. Well who areyou gonna believe… A Problem of Digital Photography. The Velvet Light Trap,36, pp. 3-20. ISNN 0149-1830

1995. A New Homefor the Cinema. Design Issues, 11(2), pp. 62-71. ISNN 0747-9360

1995. A New Homefor the Cinema? In: M. BAL, ed. ASCA Brief 1. Amsterdam: UoA, pp. 35-44.

1994. History inthe Rewind Mode. Kintop 2, pp. 175-177. Frankfurt: Stroemfeld/Roter ISBN3-878777-782-5

1994. EnglishPoetry and a Damp Mattress; Research and CD ROM. Interact, The EuropeanPlatform for Interactive Learning, 2, (1), pp. 12-13.

1991. WarrenBeatty talks to Madonna. In: C. BARBER, ed. The Centre of the World. Southampton:The University Southampton, pp. 13-14.

Plenaries/keynotes

2011. OpeningAddress. The Pleasure of Light Gyorgy Kepes and Frank J.Malina LudwigMuseum- Museum of Contemporary Art, Budapest

2011. GrindingA Ridge: The Subversive Pleasure of Artificial Light. The Pleasure ofLight. Institute for Advanced Study, The French Institute Budapest.

2011 BetweenWorlds: Beyond Asimo: Transdisciplinarity and Technology. Automoni Cenatar-ACT, Čakovec,

2009. Keynote:Homoextramundeus, Parallellepedia.  Leuven, Belgium

2009. Early Cinemaand the Leibig Bilder, Justus leibig House, Ggeissen.

2008. Technology,Imagination and Desire. TIF International Forum. Yonsei University,Seuol.

2008. Plenary(with Blassnigg, M.) The Impossible Journey: Technology and the PopularImagination. Supersaturation, a Celebration of a Century of Diving.

2008. Plenary(with Blassnigg, M.,) Insects and Cinema: In Defence of Train-Spotting. Ento08 Royal Entomological Society Annual Meeting.

2007. Panoramasof Time. 16th International Panorama Conference. Plymouth.

2006. Co-convenor.Aurora Feast Public Art Project, Heureka, Finnish Science Center, Helsinki.

2005. OnBecoming:Light Image and Illusion. Light Image and Illusion Symposium.  Aegina

2004. New FormsFestival, British Columbia. (Keynote speaker)

2004. Il CinemaRitrovata, Bologna. (invited member)

2003. Innovationsin Education. Quarter Foundation. Doha.

2003. Changes andchallenges (I). Film Archives in the Digital Era: New Concepts and NewPolicies. Amsterdam. Nederlands Filmmuseum. (Keynote speaker)

2002. Anarchives,V_2, Rotterdam (Moderator)

2002. Image inProcess. Transmediale 02, Haus der Kulteren der Welt, Berlin. (Selectorand Keynote)

2001. RemoteInteractions. Sonic Acts Festival, Pardiso, Amsterdam.

1998. Memory inthe Age of the Hard Drive. European Media Arts Forum, Coleg Glan Hafren,Cardiff.

1998. Between theWaves: Reflections on Art and Public Affairs Since 1968. World WideVideo Festival, Milk Weg, Amsterdam.

1997. ThomasEdison’s Scientific Cinema. Interpreting Edison; 150th Celebration ofEdison’s Birth, Edison Historic Site, New Jersey.

1995. Lost inSpace II: Early Actuality Films and Their Audience, Moving Pictures: 500jaar film, Nederlands Fonds voor de film, Den Haag.

Conference Papers

Refereed Papers

2009. Swing Time:Technology as/&/as Metaphore. Justus Leibig University, Giessen.

2008. Synchronyand the Semi-material Object. University of Applied Art, Vienna.

2008. PlayOrbit: A Reflection on the History of Play. Laboral; Gijon.

2007. VisionsWithout Light: Crookes, Cinema, Noctovision and the Passage to theSemi-Material Object. Research Futures.Contemporary Art Center, PecciMuseum,Prato

2007. BetweenThought and Matter, The Final Frontier. Mutamorphosis, Prague.

2007.Technologyand Desire. Science and the Public. Imperial College, London.

2007. ContingentRealities: The Role of the Creative Arts. Reviewing the Future, Cœur desSciences, University of Quebec, Montreal.

2006. Homomundus:Human-Digital Crossing: Art and Mind, SESC, Sao Paulo.

2006. Mexico-who is he? Consciousness Reframed: art in the post-biological era.University of Plymouth, UK

2006. Paper Cinemaand self The Interpretation of a Technology.

Panel Discussant“Cinema, mind, world – toward a new methodology in the uses of cinema foranthropology”: European Association of Cultural Anthropologists Bristol

2006 withBlassnigg and Czegledy Surface/Interface, Perception and Space Exploration 57thInternational Academy of Astronauts, Valencia

2006. withBlassnigg and Cegledy. Expanding the Space: Conference and Workshop onScience and Art, Valencia. Octobre Centre de Cultura Contemporania.

2006. withBlassnigg, M. Toward a New Cosmography:Space and Time. 25thInternational Space Development Conference, Los Angeles.

2006. Cinemaand Consciousness: Model, Paradigm or Simulacra. Toward a Science ofConsciousness. Center for the Science of Consciousness, University of Arizona.

2005. The PostDigital Analogue and the Metaphysics of Immanence. Consciousness,Literature and the Arts. University of Wales, Aberystwyth.

2004. MoreSchwarzengger than Schönberg. Shaping Consciousness: New Media,Spirituality and Identity. Dallas Museum of Art.

2005. Cinemaand Clairvoyance. Interfacing Theory and Practice, University of Exeter.

2005. TheSocial Construction of Space and Ethics. First IAA InternationalConference, Budapest, Hungary

2004. Panelconvenor and chair: The Future of Certainty, (Blassnigg, Engili, Malina,Pepperell, Punt). Society for Literature and Science, Paris.

2004. TheFuture of Uncertainty. Ciberarts, Bilbao.

2004. FromMélièse to Galaxy Quest: the Dark Matter of Human Imagination. Space ArtsWorkshop, Noordwijk.

2003. NotScience or History. Sensorial Nets. Dragao Do Mar, Forteleza.

2003. AnotherView From The Blender. Society for Literature and Science 17th AnnualConference. University of Texas, Austin.

2003. AnotherView From the Blender. Consciousness Reframed 5. CAiiA.

2002. TheTransdisciplinary Wunderkammer and Orai. ISEA 2002. Nagoya.

2002. HumanConsciousness and the Post Digital Analogue, Biennial of Electronic Art,Perth.

2002. Art atthe Boundary of the Science of Consciousness. Toward a Science ofConsciousness. Center for Consciousness Studies, University of Arizona.

2000. TheTechnological Imaginary. Moving Images: Technologies, Transitions,Historiographies, Stockholm University.

2000. Pain,Memory and Seduction. Consciousness Reframed III. Centre for AdvancedInquiry into Interactive Arts, Caerleon.

1999. ForgetArmageddon: the case for technological optimism. ISEA, Sao Paulo.

1998. So what’sso new about this revolution? Revolution: ISEA 98, The Inter Society forElectronic Arts, Liverpool.

1998. Casablancaand Men in Black; remembering and forgetting. Consciousness Reframed2. Centre for Advanced Inquiry into Interactive Arts, Caerleon.

1998. TechnologicalDisasters and the Rhetoric of Funding. 25th Symposium of ICOHTEC, Lisbon.

1997. What If?Another History of Digital Media for Designers and Artists. ISEA 97.Chicago.

1997. VirtualReality for the Dead. Consciousness Reframed 1, Centre for Advanced Inquiryinto Interactive Arts, Caerleon.

1996. EarlyCinema and Scientific Knowledge: Strategies and Practices in Documentary Filmand Video. Visible Evidence 4, University of Wales, Cardiff.

1996. Technologiesof Perception and Imagination. Culture Sign Space: Internationaler KongressDeutsche Gesellschaft für Semiotik, University of Amsterdam.

1996. PostClassical Cinema as Condition and Symptom. Tender Bodies, Twisted Minds:New Hollywood, University of Amsterdam.

1996. SubjectPositioning and Interactive Design. Beeldenstorm in Deventer,Rijkshogschool Ijselland, Deventer.

1996. A NewKind of Subject; Digital Images and their Audiences. The FourthInternational Visual and Verbal Literacy Research Symposium. InternationalVisual Literacy Association, Deventer.

1995. ImagesTake Longer: Notes on CD Rom. Design. Dutch Electronic Arts Festival.Rotterdam.

1995. TheorisingSilicon Cinema. Hollywood Since the 1950s’ – A Post Classical Cinema,University of Kent, Canterbury.

1995. Space inEarly Cinema: Robert W. Paul and the Temperance Film. The Practice ofCultural Analysis, Amsterdam School of Cultural Analysis, Amsterdam.

1995. Lost inSpace, Celebrating 1895, University of Derby, Bradford.

1993. TheNineteenth Century Technological Imaginary. Screen Conference, John LogieBaird Centre, Glasgow.

PapersRead

2003. A View FromTheBlender. Nomadic Transitions. Hochschule für Gestaltung und Kunst, Zurich.

2002. RemoteInteraction.Remaking Reality. IAMAS, Ogaki, Gifu.

2001. The JellyBaby On MyKnee. Extreme Parameters, L’Hospitalet de Llobregat, Barcelona.

2001. On theAvoidance ofMiracles, “E-naissance”, Gallery of Modern and Contemporary Art ofTurin

2000. ThePostdigitalMembrane. L’Art a l’era Post-Biologique, Ecole National SuperieureDesBeaux Arts, Paris.

2000. TelepresenceandRemote Sensing. Remote, University of Wales, Lampeter.

1999. Early CinemaandDigital Media – The Very Idea. Federal University, Rio de Janeiro.

1999. NewGeographies inElectronic Art. B10c Seminar, Chapter Arts, Cardiff.

1999. Speed andthe TechnologicalImaginary. Speed and Space, B10c. Cardiff.

1998. DoesTechnology DriveHistory? B10c Workshop, Chapter Arts, Cardiff.

1995. CD Rom andthe Political Body. Salon 4 ASCA. Amsterdam.

Journalism,Reviews and Non-Refereed Journal Articles

Journalismfor Skrien: Tijdschrift voor Film en Televisie.(ISSN 0166-1787).

2001.MovingImages: Technologies, Transitions. Skrien, 34.2, pp. 11-12.

2001. CatchingUpwith the Present: Le Giornate del Cinema Muto. Skrien, 251, p. 16

2000. Il CinemaRitrovato,Bologna 2000 Skrien, 249, pp. 10-11.

2000. On VisualCulture Skrien, 247, p. 32.

2000. The LongGoodbye. Skrien, 244, p. 24.

2000. To Infinityand Beyond. Skrien,243, p. 26.

2000. Live fromDeath Valley. Skrien,242, p. 26.

2000. ThePost-Digitaal. Skrien, 241, p. 29.

2000. The Ghost atthe Feast.Skrien, 240, p. 41.

1999. UbiquitousComputing. Skrien, 239, p. 49.

1999. Coffee witha LittleMilk; the future of the magazine and the internet. Skrien, 238, pp.58-61.

1999. More Heatthan Light? Skrien, 237, p. 49

1999. NewTypography. Skrien, 236, p. 42.

1999. Pulling thePlug. Skrien, 235, p. 61.

1999. PostInternet. Skrien, 234, p. 61.

1999. Who wants amoviemagazine? Skrien, 233, p. 33.

1999. Het herbruikvoorbij. Skrien, 232, p. 47.

1999.Tentoonstelling TacitaDean. Skrien, 231, p. 58.

1999. Kieran Lyonsoverinteratieve installaties. Skrien, 231, pp. 54-57.

1999. Breakfast atWillis’. Skrien, 229, pp. 46-47.

1999. Pordenone(festivalreview). Skrien, 229, p. 16.

1998. Outlook forMedia Arts,Art, Uncles and Chainsaws, Skrien, 228, pp. 68-71.

1998. Harpo inCyberspace. Skrien, 227, p. 55.

1998. Godzillaverliest vanvoetball. Skrien, 226, p. 49.

1998. That’sEntertainment. Skrien, 225, p. 57.

1998. AlienEntities. Skrien, 224, p. 54.

1998. InteractivePopcorn. Skrien, 223, p. 49.

1998. Digitaalsoldaatjespelen. Skrien, 222, pp. 54-55.

1998. Alienverkoopt boekenop Internet. Skrien, 221, p. 56.

1997. Chicago andVodka. Skrien, 219, p. 57.

1997. People inBlack. Skrien, 218, p. 57.

1997. Shopping fortheMillennium. Skrien, 217, pp. 74-75.

1997. Eenonorthodoxblauwtje. Skrien, 215, pp. 73-74.

1997. Pas opvoorMarsmannetjes. Skrien, 214, p. 78.

1997. Bioscopjespelen. Skrien, 213, pp. 76-77.

1997.Dichtgeslibde aderen. Skrien, 212, pp. 74-75.

1996. Kunst tekoop. Skrien, 211, pp. 75-76.

1996. Storm opkomst. Skrien, 210, pp. 74-75.

1996. PrikkelenStroomstoten. Skrien, 209, pp. 74-75.

1996. one ofus@one of us. Skrien, 208, pp. 76-77.

1996. Wachten tode blikseminslaat. Skrien, 207, pp. 79-80.

1996.Luchtspiegeling/fatamorgana/scintillati, Skrien, 206, pp.71-72.

LeonardoReviews: http//:leonardoreiviews.mit.edu (ISSN 1559 0429)

2007. TechnologyMatters byDavid Nye.

2007. Deep Timeofthe Media: Toward an Archaeology of Hearing and Seeing by Technical MeansbySiegfried Zielinski; Translated by Gloria Custance

2005. Aby Warburgand the Image in Motion by Phillippe-Alain Michaud; trans.,Sophie Hawkes

2005. NueGallerie,Lucerne Schweizer Biennale Zu Wissenshaft, Technik + Asthetik.Consciousness andTeleportation.

2004. Il CinemaRitrovata.

2004. America asSecondCreation: Technology and Narratives as New Beginnings, by David Nye.

2004. Culture ofFact:England, 1550-1720, by Barbara J. Shapiro.

2003.Real-LifeX-Files: Investigating the Paranormal, by Joe Nickell.

2003. The17thAnnual Conference of the Society for Literature and Science. Austin,Texas.October 23-26, 2003

2003. SilentPlayers: ABiographical and Autobiographical, by Anthony Slide.

2003. TheNortonAnthology of Theory and Criticism. Vincent B. Leitch, et al.,

2003.Innovationsin Education: the art and science partnership. Qatar Foundation,EducationCity, Doha,

2003. TheAudiblePast: Cultural Origins of Sound Reproduction, by Jonathan Sterne

2003. TheSeductionof the Occult and the Rise of the Fantastic Tale, by Dorothea E. vonMücke.

2003. Sociologyisa Martial Art. Directed by Pierre Carles.

2003. ConeyIsland:The People’s Playground, by Michael Immerso.

2003. The NewWaveBy Itself. Dir. Robert Valey and André S. Labath

2002. Archimedia:Changes andChallenges (1) Film Archives in the Digital era: New Concepts andNew Policies,Nederlands Film Museum, 16-18 January 2003

2003. Mille GillesA film by Ijsbrand vanVeelen.

2002. ISEA, 2002:a review.

2002. On Her OwnTerms: Annie MontagueAlexander and the Rise of Science in the American West.

2002. GustaveCaillebotte and the Fashioning ofIdentity in Impressionist Paris.

2002. HumanConsciousness and the PostdigitalAnalogue. Also at: Leonardo ElectronicAlmanac.

2001. TheTransdisciplinaryWunderkammer: Visual Analogy: Consciousness as theArt of Connecting,by Barbara Maria Stafford, and Devices of Wonder: From theWorld in a Box toImages on a Screen, by Barbara Maria Stafford and FrancesTerpak.

2001. ArsElectronica.

1999. Between theWaves:reflections on art, technology and public affairs since 1968. Editorial,Leonardo Electronic Almanac.

1998. A MartianView.Editorial. (Leonardo Electronic Almanac).

Creativework

Films Made

2003. St. Clareand the Crookes’ Mill. Digital Video. 3 mins. Viewingcopy: collection of theartist.

1995. CD Rom Vs.Baywatch. Video tape, 60mins. Viewing copy: collectionof the artist.

1991. In Bed WithMadonna. Video installation, continuous. Viewing copy:collection of the artist.

1989. TheAppearance of Countries. Computer animation, 2 mins. Viewing copy:collection of the artist.

1989. Cold Cut.Video tape, 5 mins. Viewing copy: Bugg Computer Graphics.

1989. One and One.16mm B/W,19 mins. Viewing copy: collection of the artist.

1987. Crossing theStyx. 16mm B/W, 8 mins. Viewing copy: collection ofthe artist.

1987. Petite Fetischistes.16mm B/W, 7 mins. Viewing copy: collection ofthe artist.

1986. WorldPictures. 16mm B/W, 8 mins. Viewing copy: collection of theartist.

1986. Paper Boat.16mm Monochrome/tint, film installation,continuous.

1985. Catacombs.16mm B/W, 2 mins. Viewing copy: collection of theartist.

1985. The BoundedText. 16mm B/W, 7 mins. Viewing copy: collection of theartist.

1985. Tide Glas.16mm B/W, 6 mins. Viewing copy: collection of theartist.

1984. Lie/Lie.16mm B/W and colour, 9 mins. Viewing copy: collection ofthe artist.

1984. The Boat.16mm B/W, 4 mins. Viewing copy: collection of the artist.

Exhibitionsof Sculpture and Drawing

OnePerson Exhibitions:

1984. ‘… betweenthewaves’, an exhibition of five objects, nine drawings and a novel…IkonGallery, Birmingham. Catalogue, Birmingham: Ikon Gallery.

1984. The BananaMan,(a novel in a unique edition). Ikon Gallery, Birmingham.

1980. MichaelPunt:Recent Sculpture and Drawing. Oriel Gallery, Cardiff. Catalogue,Cardiff:Welsh Arts Council.

1980. MichaelPunt:Recent Drawings. Hull College of Art Gallery, Hull. Catalogue,Hull:Humberside University.

1976. MichaelPunt:Sculpture, Drawing and Painting. Arnolfini Gallery, Bristol.Catalogue,Bristol: Arnolfini.

1973. Relics of aWorldWar. Richard Demarco Gallery, Edinburgh. Catalogue, Edinburgh:RichardDemarco Gallery.

1970. MichaelPunt.Ikon Gallery, Birmingham. Catalogue, Birmingham: Ikon Gallery.

SelectedGroup Exhibitions

1995. DigitalExpress. Media Station/F.Stop Gallery, Bath.

1991. The Centreof the World. John Hansard Gallery, Southampton.

1991. 56 GroupWales. A Touring Exhibition. British Council, Bratislava,Karlovy, Brno.

1989. 56 GroupWales. An Exhibition Selected by David Briers. Glyn VivianGallery, Swansea.

1989.Cardiff/Camden. The Old Library, Cardiff.

1989.Camden/Cardiff. The Library Gallery, Swiss Cottage, London.

1988. Fragments ofFalse Houses. Pomeroy Purdey Gallery, London.

1988. Death aContemporary View. Kettles Yard, Cambridge.

1988. Monuments.St George’s Church, London.

1988. 56 GroupWales. Mostyn Gallery, Llandudno.

1987. Systems ofSupport. Kettles Yard, Cambridge.

1987. Terra-istSeries. Worcester Museum, Worcester.

1987. 56 GroupWales. Touring Exhibition. British Council, Bratislava,Kordice, Karlovy, Brno.

1987. 56 GroupWales. Arts Council Touring Exhibition, Wales.

1986.Collaborations in Network Projects. Venice Biennale, Venice.

1986. Video PlusWest Hubard, Chicago.

1984. 56 GroupWales. Oriel Gallery, Cardiff.

1983. La Plissuredu Texte. Arnolfini, Bristol. A textual work ofdistributed authorship exhibitedalso at Electra83, Paris.

1983. World PrintsSeries. Museum of Modern Art, Bologna.

1983. OpenSelection. International Association of Artists, MorleyGallery, London.

1982. 56 GroupWales. St Paul’s Gallery, Leeds.

1981. ContemporarySculpture. Arts Council, touring exhibition, Wales andScotland.

1981. 56 GroupWales. National Museum of Wales, Cardiff.

1980. 56 GroupWales, Images on Paper. Contemporary Arts Society, touringexhibition, UK.

1979. SixSculptors. Arts Council, touring exhibition, UK.

1979. 56 GroupWales. Glyn Vivian Gallery, Swansea.

1979. 56 GroupWales. Newport Museum and Art Gallery, Newport.

1979. 56 GroupWales. Arts Council touring exhibition, Wales.

1979. 56 GroupWales. University of Wales Gallery, Cardiff.

1978. 56 GroupWales. Royal West of England Academy, Bristol.

1978. 56 GroupWales. University of Wales Gallery, Cardiff.

1977. The GlassCase Show. Wolverhampton Gallery, Wolverhampton.

1977. 56 GroupWales. Arts Council touring exhibition, Belfast, Dublin, Aberystwyth.

1976. 56 GroupWales, National Museum of Wales, Cardiff.

1975. 56 GroupWales. Leeds University Gallery, Leeds.

1974. 56 GroupWales. University of Wales Gallery, Cardiff.

1971. ArtsCouncils Selection. Arts Council Gallery, Belfast.

1970. Play Orbit.Institute of Contemporary Art, London.