Michael Punt: publications:

Chapters in Anthologies, Articles,

Chapters in Anthologies

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

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

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

2013. Image, Light and 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 on the Cusp of History. SEAD: http://seadnetwork.wordpress.com/draft-overview-of-a-report-on-the-sead-white-papers/

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

2011 ‘Combinando Tecnologias: primeiro cinema, cultura popular e o imaginário tecnológico’ (transl. by Cleomar Rocha and Júlio César dos Santos), Z Cultural, Revista Virtual do Programa Avançado de Cultural Contemporânea, Ano VII(02), ISSN 1980-9921. [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. Accidental Machines: The impact of Popular Participation on Computer Technology. IN: The Designed 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. Technology and Metaphor. REAL Yearbook of Research in English and American Literature. Ed. Herbert Grabes, Ansgar Nünning. Tübingen: Gunter Narr Verlag. (in press).

2008. Synchrony and the Semi-Material Object. In Ascot, R., et al New Realities: Being Syncretic. Springer: New York. pp.224-228

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

2008. Reflections in a Laser Disc. In: Kooijmn, J., Pisters, P., Strauven, W., (eds.) Mind the Screen: Media Concepts according to Thomas Elsaesser. Amsterdam: Amsterdam University Press. pp. 267-276.

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

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

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

2003. (with Robert Pepperell). 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. The Postdigital Multiverse. In: Katia Maciel, ed. Redes Sensoriais: arte ciência, technologia. Rio de Janeiro: Contra Capa Livaria. Pp. 309 – 317. ISBN 85-86011-74-

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

2002. More Sign than Star: Diana, Death and the Internet. In: A. Ndalianis, ed. Stars in Our Eyes: The Star Phenomenon In the Contemporary Era. Westport: Greenwood Press. pp. 85-102.ISBN 0-27597480-4

2001. Not Science or 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. Casablanca and Men in Black: consciousness, remembering and forgetting. In: R. ASCOTT, Reframing Consciousness. Exeter: Intellect. Pp. 38-42. ISBN 1-84150-031-5. Also at http://mitpress.mit.edu/e-journals/Leonardo/articles/punt1.html, (Leonardo Electronic 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. The elephant, the spaceship and the white cockatoo; an archaeology of digital photography. In: M. LISTER, ed. Photography in the Age of Digital Culture. London: Routledge, pp. 51-77. ISBN 0-415-12126-6.

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



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

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

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

2000. Early Cinema and the Technological Imaginary. Amsterdam: Postdigital Press. (Self published thesis). ISBN 0-9538332-0-8.

Refereed Journal Articles

2011. Combinando Tecnologias: primeiro cinema, cultura popular e o imaginário tecnológico, de Michel 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 Speculative Research 6:2, pp. 135-148.

2006. with Blassnigg, M., Surman, D., From Mélièse to Galaxy Quest: the Dark Matter of Human Imagination. Leonardo, 39 (1) pp. 13-18 +p.30 illus. ISNN 0024-094X.

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

2005. Ars Electronica 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 the Transdiciplinary Wunderkamer. Leonardo, 37 (3) pp. 21-23. ISNN 0024-094X.

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

ISNN 1354-8565

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

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

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

2003. The Martian in the Multiverse. Refractory. 3. ISNN 1447-4905.

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

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

2002. New Media and Transdisciplinarity. Tom.com http://arts.tom.com/zhuanti/punt/index.html

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

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

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

2002. Ars Electronica, 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. Post Classical Cinema and the Digital Image. Convergence. 6(2), pp. 62-76. ISNN:1354-8565

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

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

1998. A Speculative 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. Digital Media, Artificial Life and Post Classical Cinema: Condition, Symptom or a Rhetoric of Funding? Leonardo 31 (5), pp. 349-356. ISNN 0024-094X Also at 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. Die Panorama-Ansichten in Execution of Czologosz. Kintop 6, pp. 89-95. Frankfurt: Stroemfeld/Roter Stern. ISBN 3-87877-786-8.

1996. Impossible Archaeology. In: M. BAL, and T. ELSASSER, ed. Brief Issues in Cultural Analysis. 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 are you gonna believe… A Problem of Digital Photography. The Velvet Light Trap, 36, pp. 3-20. ISNN 0149-1830

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

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

1994. History in the Rewind Mode. Kintop 2, pp. 175-177. Frankfurt: Stroemfeld/Roter ISBN 3-878777-782-5

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

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



2011. Opening Address. The Pleasure of Light Gyorgy Kepes and Frank J.Malina Ludwig Museum- Museum of Contemporary Art, Budapest

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

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

2009. Keynote: Homoextramundeus, Parallellepedia.  Leuven, Belgium

2009. Early Cinema and 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 Popular Imagination. Supersaturation, a Celebration of a Century of Diving.

2008. Plenary (with Blassnigg, M.,) Insects and Cinema: In Defence of Train-Spotting. Ento 08 Royal Entomological Society Annual Meeting.

2007. Panoramas of Time. 16th International Panorama Conference. Plymouth.

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

2005. On Becoming:Light Image and Illusion. Light Image and Illusion Symposium.  Aegina

2004. New Forms Festival, British Columbia. (Keynote speaker)

2004. Il Cinema Ritrovata, Bologna. (invited member)

2003. Innovations in Education. Quarter Foundation. Doha.

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

2002. Anarchives, V_2, Rotterdam (Moderator)

2002. Image in Process. Transmediale 02, Haus der Kulteren der Welt, Berlin. (Selector and Keynote)

2001. Remote Interactions. Sonic Acts Festival, Pardiso, Amsterdam.

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

1998. Between the Waves: Reflections on Art and Public Affairs Since 1968. World Wide Video Festival, Milk Weg, Amsterdam.

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

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



Conference Papers


Refereed Papers

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

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

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

2007. Visions Without Light: Crookes, Cinema, Noctovision and the Passage to the Semi-Material Object. Research Futures.Contemporary Art Center, Pecci Museum,Prato

2007. Between Thought and Matter, The Final Frontier. Mutamorphosis, Prague.

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

2007. Contingent Realities: The Role of the Creative Arts. Reviewing the Future, Cœur des Sciences, 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 Cinema and self The Interpretation of a Technology.

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

2006 with Blassnigg and Czegledy Surface/Interface, Perception and Space Exploration 57th International Academy of Astronauts, Valencia

2006. with Blassnigg and Cegledy. Expanding the Space: Conference and Workshop on Science and Art, Valencia. Octobre Centre de Cultura Contemporania.

2006. with Blassnigg, M. Toward a New Cosmography:Space and Time. 25th International Space Development Conference, Los Angeles.

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

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

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

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

2005. The Social Construction of Space and Ethics. First IAA International Conference, Budapest, Hungary

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

2004. The Future of Uncertainty. Ciberarts, Bilbao.

2004. From Mélièse to Galaxy Quest: the Dark Matter of Human Imagination. Space Arts Workshop, Noordwijk.

2003. Not Science or History. Sensorial Nets. Dragao Do Mar, Forteleza.

2003. Another View From The Blender. Society for Literature and Science 17th Annual Conference. University of Texas, Austin.

2003. Another View From the Blender. Consciousness Reframed 5. CAiiA.

2002. The Transdisciplinary Wunderkammer and Orai. ISEA 2002. Nagoya.

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

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

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

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

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

1998. So what’s so new about this revolution? Revolution: ISEA 98, The Inter Society for Electronic Arts, Liverpool.

1998. Casablanca and Men in Black; remembering and forgetting. Consciousness Reframed 2. Centre for Advanced Inquiry into Interactive Arts, Caerleon.

1998. Technological Disasters 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. Virtual Reality for the Dead. Consciousness Reframed 1, Centre for Advanced Inquiry into Interactive Arts, Caerleon.

1996. Early Cinema and Scientific Knowledge: Strategies and Practices in Documentary Film and Video. Visible Evidence 4, University of Wales, Cardiff.

1996. Technologies of Perception and Imagination. Culture Sign Space: Internationaler Kongress Deutsche Gesellschaft für Semiotik, University of Amsterdam.

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

1996. Subject Positioning and Interactive Design. Beeldenstorm in Deventer, Rijkshogschool Ijselland, Deventer.

1996. A New Kind of Subject; Digital Images and their Audiences. The Fourth International Visual and Verbal Literacy Research Symposium. International Visual Literacy Association, Deventer.

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

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

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

1995. Lost in Space, Celebrating 1895, University of Derby, Bradford.

1993. The Nineteenth Century Technological Imaginary. Screen Conference, John Logie Baird Centre, Glasgow.

Papers Read

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

2002. Remote Interaction.Remaking Reality. IAMAS, Ogaki, Gifu.

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

2001. On the Avoidance ofMiracles, “E-naissance”, Gallery of Modern and Contemporary Art of Turin

2000. The PostdigitalMembrane. L’Art a l’era Post-Biologique, Ecole National Superieure DesBeaux Arts, Paris.

2000. Telepresence andRemote Sensing. Remote, University of Wales, Lampeter.

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

1999. New Geographies inElectronic Art. B10c Seminar, Chapter Arts, Cardiff.

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

1998. Does Technology DriveHistory? B10c Workshop, Chapter Arts, Cardiff.

1995. CD Rom and the Political Body. Salon 4 ASCA. Amsterdam.

Journalism, Reviews and Non-Refereed Journal Articles

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

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

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

2000. Il Cinema Ritrovato,Bologna 2000 Skrien, 249, pp. 10-11.

2000. On Visual Culture Skrien, 247, p. 32.

2000. The Long Goodbye. Skrien, 244, p. 24.

2000. To Infinity and Beyond. Skrien,243, p. 26.

2000. Live from Death Valley. Skrien,242, p. 26.

2000. The Post-Digitaal. Skrien, 241, p. 29.

2000. The Ghost at the Feast.Skrien, 240, p. 41.

1999. Ubiquitous Computing. Skrien, 239, p. 49.

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

1999. More Heat than Light? Skrien, 237, p. 49

1999. New Typography. Skrien, 236, p. 42.

1999. Pulling the Plug. Skrien, 235, p. 61.

1999. Post Internet. Skrien, 234, p. 61.

1999. Who wants a moviemagazine? Skrien, 233, p. 33.

1999. Het herbruik voorbij. Skrien, 232, p. 47.

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

1999. Kieran Lyons overinteratieve installaties. Skrien, 231, pp. 54-57.

1999. Breakfast at Willis’. Skrien, 229, pp. 46-47.

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

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

1998. Harpo in Cyberspace. Skrien, 227, p. 55.

1998. Godzilla verliest vanvoetball. Skrien, 226, p. 49.

1998. That’s Entertainment. Skrien, 225, p. 57.

1998. Alien Entities. Skrien, 224, p. 54.

1998. Interactive Popcorn. Skrien, 223, p. 49.

1998. Digitaal soldaatjespelen. Skrien, 222, pp. 54-55.

1998. Alien verkoopt boekenop Internet. Skrien, 221, p. 56.

1997. Chicago and Vodka. Skrien, 219, p. 57.

1997. People in Black. Skrien, 218, p. 57.

1997. Shopping for theMillennium. Skrien, 217, pp. 74-75.

1997. Een onorthodoxblauwtje. Skrien, 215, pp. 73-74.

1997. Pas op voorMarsmannetjes. Skrien, 214, p. 78.

1997. Bioscopje spelen. Skrien, 213, pp. 76-77.

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

1996. Kunst te koop. Skrien, 211, pp. 75-76.

1996. Storm op komst. Skrien, 210, pp. 74-75.

1996. Prikkel enStroomstoten. Skrien, 209, pp. 74-75.

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

1996. Wachten to de blikseminslaat. Skrien, 207, pp. 79-80.

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

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

2007. Technology Matters byDavid Nye.

2007. Deep Timeof the Media: Toward an Archaeology of Hearing and Seeing by Technical Means bySiegfried Zielinski; Translated by Gloria Custance

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

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

2004. Il Cinema Ritrovata.

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

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

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

2003. The 17thAnnual Conference of the Society for Literature and Science. Austin, Texas.October 23-26, 2003

2003. Silent Players: ABiographical and Autobiographical, by Anthony Slide.

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

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

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

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

2003. Sociologyis a Martial Art. Directed by Pierre Carles.

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

2003. The NewWave By Itself. Dir. Robert Valey and André S. Labath

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

2003. Mille Gilles A film by Ijsbrand vanVeelen.

2002. ISEA, 2002: a review.

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

2002. Gustave Caillebotte and the Fashioning ofIdentity in Impressionist Paris.

2002. Human Consciousness and the PostdigitalAnalogue. Also at: Leonardo ElectronicAlmanac.

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

2001. Ars Electronica.

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

1998. A Martian View.Editorial. (Leonardo Electronic Almanac).

Creative work

Films Made

2003. St. Clare and the Crookes’ Mill. Digital Video. 3 mins. Viewingcopy: collection of the artist.

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

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

1989. The Appearance 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 the Styx. 16mm B/W, 8 mins. Viewing copy: collection ofthe artist.

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

1986. World Pictures. 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 Bounded Text. 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.

Exhibitions of Sculpture and Drawing

One Person Exhibitions:

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

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

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

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

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

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

1970. Michael Punt.Ikon Gallery, Birmingham. Catalogue, Birmingham: Ikon Gallery.

Selected Group Exhibitions

1995. Digital Express. Media Station/F.Stop Gallery, Bath.

1991. The Centre of the World. John Hansard Gallery, Southampton.

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

1989. 56 Group Wales. 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 of False Houses. Pomeroy Purdey Gallery, London.

1988. Death a Contemporary View. Kettles Yard, Cambridge.

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

1988. 56 Group Wales. Mostyn Gallery, Llandudno.

1987. Systems of Support. Kettles Yard, Cambridge.

1987. Terra-ist Series. Worcester Museum, Worcester.

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

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

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

1986. Video Plus West Hubard, Chicago.

1984. 56 Group Wales. Oriel Gallery, Cardiff.

1983. La Plissure du Texte. Arnolfini, Bristol. A textual work ofdistributed authorship exhibited also at Electra83, Paris.

1983. World Prints Series. Museum of Modern Art, Bologna.

1983. Open Selection. International Association of Artists, MorleyGallery, London.

1982. 56 Group Wales. St Paul’s Gallery, Leeds.

1981. Contemporary Sculpture. Arts Council, touring exhibition, Wales andScotland.

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

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

1979. Six Sculptors. Arts Council, touring exhibition, UK.

1979. 56 Group Wales. Glyn Vivian Gallery, Swansea.

1979. 56 Group Wales. Newport Museum and Art Gallery, Newport.

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

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

1978. 56 Group Wales. Royal West of England Academy, Bristol.

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

1977. The Glass Case Show. Wolverhampton Gallery, Wolverhampton.

1977. 56 Group Wales. Arts Council touring exhibition, Belfast, Dublin,Aberystwyth.

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

1975. 56 Group Wales. Leeds University Gallery, Leeds.

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

1971. Arts Councils Selection. Arts Council Gallery, Belfast.

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

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