Professor Michael Punt

Professor Michael Punt

Professor of Digital Art and Technology

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


Michael Punt BA MA PhD ILTA,  Professor of Art and Technology, 

International co-editor, Leonardo ; Editor-in-Chief Leonardo Reviews

Education, Teaching andResearch Appointments

1964. – 1968. BA Bath Academyof Art, Fine Art, Sculpture.

1968. – 1970. Toy Designer,Eldon Industries, Middlesex.

1989. – 1990. MA University of East Anglia, Norwich.

1992. – 1996. AIO, Universityof Amsterdam.

1998. – On-going: Editor-in-Chief,Leonardo Reviews.

1996. – 2000. Columnist, Skrien.

2000. – PhD. University ofAmsterdam.

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.


Chapters in Anthologies

2013. StartPlaying. 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 inpriložnostina pragu zgodovine, trans. Ana Flac, Helena Fošnjar, Snežana Štabi.In: (NE)ODVISNI (NE)ZAVISNI INDEPENDENT.(eds.) Snežana Štabi, Žiga Dobnikar, Dejan Pestotnik. Slovenia: KID / ACEKIBLA, pp.14-28, pp. 84-95 and pp. 151-163.

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

2013.Blassnigg, M., Punt, M. Transdisciplinarity: Challenges, Approaches andOpportunities on the Cusp of History.SEAD:

2011.Grinding A Ridge. 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 ( Cleomar Rocha and Júlio César dos Santos), Z Cultural, Revista Virtual doPrograma Avançado de Cultural Contemporânea, Ano VII(02), ISSN1980-9921.[Online]. Available at: 16 December 2011).

2010.Accidental Machines: The impact of Popular Participation on ComputerTechnology. In: The Designed World:Images, Objects, Environments Victor Margolin (Author, Editor), DennisDoordan (Author), Richard Buchanan (Author, Editor), Dennis P. Doordan(Editor). Oxford: Berg, pp. 167-188.

2009.Technology and Metaphor. REAL Yearbook of Research in English and AmericanLiterature. Ed. Herbert Grabes, Ansgar Nünning. Tübingen: Gunter Narr Verlag,pp. 315-328.

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 - Play Orbit a Play on theHistory of Play. In: Dragona, D., (eds). Homo Ludens Ludens.Gijon: Laboral, pp. 134-149 and pp. 254-260

2008.Reflections in a Laser Disc. In: Kooijman, 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 andConsciousness in The Post-biological Era. Intellect: Bristol, pp. 39-47.

2003.(with Robert Pepperell). Art at the Boundary of Science and Consciousness. In:Emma Posey, ed. Remote. Cardiff: Bloc Press, pp. 21-26.

2003. ThePostdigital Multiverse. In: Katia Maciel, ed. Redes Sensoriais: arteciência,technologia. Rio de Janeiro: Contra Capa Livaria, pp. 309 – 317.

2003. TheJelly Baby on My Knee. In F. Elvers, L. vd Velden, P. vd Wenden, eds. TheArt of Programming. Amsterdam: Sonic Acts Press, pp. 40-47.

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

2001. NotScience or History: postdigital biological art and a distant cousin. In: R. Ascott,ed. Art, Technology, Consciousness: mind@large.Exeter: Intellect Books, pp. 24-28.

1999.Casablanca and Men in Black: consciousness, remembering and forgetting. In: R.Ascott, Reframing Consciousness. Exeter: Intellect, pp. 38-42. Also at,(Leonardo Electronic Almanac).

1997. Elelefante, la nave special y la cacatua blanca, arqueologia de la imagenfotografica In: M. Lister, ed. La imagen fotografica en la cultura digital.Barcelona: Paidos.

1995. Theelephant, 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.

1991. Punt,M, and Wells, 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.



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

2003. Editor, Proceedingsof the Fourth CAiiA-STAR Conference, Consciousness Reframed, Perth:University of Curtin.

2000.with Pepperell, R. The Postdigital Membrane: connecting imagination,technology and desire. Exeter: Intellect Books. (revised and reprinted2005).

2000. EarlyCinema and the Technological Imaginary. Amsterdam: Postdigital Press.(Self-published thesis).

Refereed Journal Articles

2015.From Soul to Mind. The History of an Idea. Leonardo.  48:3, p.108(Editorial).

2011.Combinando Tecnologias: primeiro cinema, cultura popular e o imagináriotecnológico, deMichel Punt – tradução Cleomar Rocha e Júlio César dos Santos, ZCultural 02.

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

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

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

2005. ArsElectronica 2004 Timeshift – the world in twenty-five years Linz02.09.04-07.09. 04. Convergence. London: John Libby, pp.12-15.

2004.Orai and the Transdiciplinary Wunderkamer. Leonardo, 37 (3), pp. 21-23.

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

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

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

2004. APostdigital Universe. Technoetic Arts. (1)3, pp. 191-200.

2003. TheMartian in the Multiverse. Refractory. 3.

2002. ATaxi Ride to Late Capitalism: Hyper Capitalism, Imagination, and ArtificialIntelligence. Artificial Intelligence and Society. (16) 4, pp. 366-376.

2002. NewMedia and Transdisciplinarity.

also at:

2002. ThePostdigital Analogue and Human Consciousness. Leonardo. 35 (2),pp.119-120.

2002. ArsElectronica. Leonardo. 35 (2), pp. 220-221.

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

2002.Symbiotic A: fish and chips. Art Press, pp. 43-44.

2001.Post Classical Cinema and the Digital Image. Convergence. 6(2), pp.62-76.

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

1999.CD-rom: Radical Nostalgia, trans. Gauget, B. Compacts, Rennes: PressesUniveritaires De Rennes, pp. 60-84.

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

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

1998.Digital Media, Artificial Life and Post Classical Cinema: Condition, Symptom ora Rhetoric of Funding? Leonardo 31 (5), pp. 349-356. Also at, (University of Bologna) and

1998.Accidental Machines: Understanding How We Understand New Technologies. DesignIssues. 14(1), pp. 54-80. Also at,(University of Bologna).

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

1996. ImpossibleArchaeology. In: M. Bal, and T. Elsasser, ed. Brief Issues in CulturalAnalysis. Kampen: Kok Pharos, pp.177-180.

1995. CDROM: Radical Nostalgia? Leonardo, 28(5), pp. 387-394.

1995.Well who are you gonna believe… A Problem of Digital Photography. The VelvetLight Trap, 36, pp. 3-20.

1995. ANew Home for the Cinema. Design Issues, 11(2), pp. 62-71.

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

1994.History in the Rewind Mode. Kintop 2. Frankfurt: Stroemfeld/Roter, pp.175-177.

1994.English Poetry and a Damp Mattress; Research and CD ROM. Interact, TheEuropean 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. MalinaLudwig Museum - 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. AutomoniCenatar-ACT, Čakovec.

2009.Keynote: Homo extramundeus, Parallellepipeda.  Leuven, Belgium.

2009.Early Cinemaand the Leibig Bilder, Justus Leibig House, Giessen.

2008.Technology, Imagination and Desire. TIF International Forum. YonseiUniversity, Seoul.

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. NewForms Festival, British Columbia. (Keynote speaker).

2004. IlCinema Ritrovata, Bologna. (invited member).

2003. Innovationsin Education. Quarter Foundation. Doha.

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

2002. Anarchives,V_2,Rotterdam (Moderator).

2002.Image in Process. Transmediale 02, Haus der Kulturen 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, ColegGlan Hafren, Cardiff.

1998. Betweenthe Waves: Reflections on Art and Public Affairs Since 1968. WorldWide Video Festival, Melkweg, Amsterdam.

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

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


Refereed Papers

2009. Swing Time: Technology as/&/as Metaphor.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.TechnologyandDesire. 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-whois he? Consciousness Reframed: art in the post-biological era. Universityof Plymouth, UK.

2006.Paper Cinemaand self The Interpretation of a Technology.

PanelDiscussant “Cinema, mind, world – toward a new methodology in the uses ofcinema for anthropology”: European Association of Cultural AnthropologistsBristol.

2006 withBlassnigg and Czegledy. Surface/Interface, Perception and Space Exploration 57thInternationalAcademy of Astronauts, Valencia.

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

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

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

2005. ThePostDigital 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. CinemaandClairvoyance. Interfacing Theory and Practice, University of Exeter.

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

2004.Panel convenor 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. Artat the 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 Advanced Inquiryinto Interactive Arts, Caerleon.

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

1998. Sowhat’s so new about this revolution? Revolution: ISEA 98, The Inter Societyfor Electronic Arts, Liverpool.

1998. Casablancaand Men in Black; remembering and forgetting. ConsciousnessReframed2. Centre for Advanced Inquiry into Interactive Arts, Caerleon.

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

1997. WhatIf? 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, RijkshogeschoolIJselland, Deventer.

1996. ANew Kind 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. Spacein Early Cinema: Robert W. Paul and the Temperance Film. The Practice ofCultural Analysis, Amsterdam School of Cultural Analysis, Amsterdam.

1995. Lostin Space, Celebrating 1895, University of Derby, Bradford.

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


Papers Read

2003. A View From The Blender. NomadicTransitions. Hochschule für Gestaltung und Kunst, Zurich.

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

2001. The Jelly Baby On My Knee. ExtremeParameters, L’Hospitalet de Llobregat, Barcelona.

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

2000. The Postdigital Membrane. L’Art a l’eraPost-Biologique, Ecole National Superieure Des Beaux Arts, Paris.

2000. Tele-presence and Remote Sensing.Remote, University of Wales, Lampeter.

1999. Early Cinemaand Digital Media – The VeryIdea. Federal University, Rio de Janeiro.

1999. New Geographies in Electronic Art. B10cSeminar, Chapter Arts, Cardiff.

1999. Speed and the Technological Imaginary.Speed and Space, B10c. Cardiff.

1998. Does Technology Drive History? B10cWorkshop, Chapter Arts, Cardiff.

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

Journalism, Reviews and Non-Refereed JournalArticles

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

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

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

2000. IlCinema Ritrovato, Bologna 2000. Skrien,249, pp. 10-11.

2000. OnVisual Culture. Skrien, 247, p. 32.

2000. TheLong Goodbye. Skrien, 244, p. 24.

2000. ToInfinity and Beyond. Skrien, 243, p.26.

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

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

2000. TheGhost at the Feast. Skrien, 240, p.41.

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

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

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

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

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

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

1999. Whowants a movie magazine? Skrien, 233,p. 33.

1999. Hetherbruik voorbij. Skrien, 232, p. 47.

1999. TentoonstellingTacita Dean. Skrien, 231, p. 58.

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

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

1999.Pordenone (festival review). 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 van voetbal. 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 soldaatje spelen. Skrien,222, pp. 54-55.

1998.Alien verkoopt boeken op Internet. Skrien,221, p. 56.

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

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

1997.Shopping for the Millennium. Skrien,217, pp. 74-75.

1997. Eenonorthodox blauwtje. Skrien, 215, pp.73-74.

1997. Pasop voor Marsmannetjes. Skrien, 214,p. 78.

1997.Bioscoopje 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.Prikkelen Stroomstoten. Skrien, 209,pp. 74-75.

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

1996.Wachten tot de bliksem inslaat. Skrien,207, pp. 79-80.

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


Leonardo Reviews: 1559 0429)

2015. Cine-Dispositives: Essays in Epistemology Across Media by Francois Albera and Maria Tortajada.

2015.Resisting Abstraction: Robert Delaunayand Vision in the Face of Modernism by Gordon Hughes.

2014. The Origins of Monsters: Image and Cognition in the First Age ofMechanical Reproduction by David Wengrow.

2008.Power Struggles. Scientific Authority andthe Creation of Practical Electricity Before Edison by Michael Brian Schiffer.

2007. Technology Matters by David Nye.

2007. Deep Time of the Media: Toward anArchaeology of Hearing and Seeing by Technical Means by SiegfriedZielinski; trans., Gloria Custance.

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

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

2004. IlCinema Ritrovata.

2004. America as Second Creation: Technology andNarratives as New Beginnings by David Nye.

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

2003. Real-Life X-Files: Investigating theParanormal by Joe Nickell.

2003. The17th Annual Conference of the Society for Literature and Science.Austin, Texas. October 23-26, 2003

2003. Silent Players: A Biographical andAutobiographical by Anthony Slide.

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

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

2003. The Audible Past: Cultural Origins of SoundReproduction by Jonathan Sterne.

2003. The Seduction of the Occult and the Rise ofthe Fantastic Tale by Dorothea E. von Mücke.

2003.Sociology is a Martial Art. Directed by Pierre Carles.

2003. Coney Island: The People’s Playground byMichael Immerso.

2003. TheNew Wave By Itself. Dir. Robert Valey and André S. Labath.

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

2003. Mille Gilles, a film by IJsbrandvanVeelen.

2002.ISEA, 2002: a review.

2002. OnHer Own Terms: Annie Montague Alexander and the Rise of Science in the AmericanWest.

2002. GustaveCaillebotte and the Fashioning of Identity in Impressionist Paris.

2002.Human Consciousness and the Post-digital Analogue. Also at: Leonardo ElectronicAlmanac.

2001. TheTransdisciplinary Wunderkammer: Visual Analogy: Consciousness as the Art of Connecting,by Barbara Maria Stafford, and Devices of Wonder: From the World in a Box to Imageson a Screen, by Barbara Maria Stafford and Frances Terpak.

2001. ArsElectronica.

1999.Between the Waves: reflections on art, technology and public affairs since1968. Editorial, Leonardo Electronic Almanac.

1998. AMartian View. Editorial. (Leonardo Electronic Almanac).

A full cv is at:

Roles on external bodies



2014.Reviewer, FWT (Austrian Science Fund).

2014.AHRC Research Grants Panel.

2014.AHRC Fellowships Panel.

2014.AHRC Fellowships Panel.

2013.AHRC Digital Transformations in the Community Panel.

2013.Reviewer, FWT (Austrian Science Fund).

2013.National Endowment for the Humanities, Digging into Data Panel

2013.Foundation for Science and Technology, Portugal; Cultures and Cultural Production EvaluationPanel.

2013.AHRC Strategic Reviewers’ Group.

2012.Foundation for Science and Technology, Portugal; Cultures and Cultural Production EvaluationPanel.

2012. UKAdvisory Council on Cultural Heritage, JHEP.2011.

2011/12.AHRC Research Grant Panel 2

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

2010.Metadesign Network, Kyung Hee University S. Korea.

2010.Steering Committee. ISEA 2011.

2010.European Science Foundation, Reviewer Pool

2009. TIFForum, Yonsei University, Seoul.

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

2008. AcademyScience and Arts of Finland. Reviewer.

2008.Scientific Committee. Less Remote. International Congress of Astronauts.

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

2007.Board, Great Western Research.

2007.Contributing Editor, Consciousness, Literature and the Arts.

2007.Reader, Rodopi Press.

2007.Trustee, Jago Eliot Foundation.

2007.Editorial Board, Journal of Writing and Creative Practice.

2006-2010.AHRC Postgraduate Awards Panel.

2005-2016.AHRC Peer Review College.

2003. -Editorial Board, 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. - Leonardo/ISASTInternational Advisory Board.

1999. - Academicreferee, Convergence, Artificial Life and Society.

1998. - AcademicReferee, Leonardo.

1998. -Editor-in-Chief, 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

Research Grants

2012/13.Project Leader, HERA Knowledge Transfer project ‘Advertising and the

Sublime’.Collaboration with Utrecht University, EYE Film Institute Netherlands and NetherlandsInstitute for Sound and Vision. Value € 40k. Co-investigator, Dr MarthaBlasnigg.

2010 –2013 Project Leader, project ‘Technology, Exchange and Flow: Artistic Media Practicesand Commercial Application’. Funded by HERA, Humanities in the EuropeanResearch Area. Value € 1M. Co-investigator, Dr Martha Blassnigg. (In collaborationwith VU University Amsterdam, University of Applied Arts Vienna, Eye FilmInstitute Netherlands, Institute for Sound and Vision Hilversum).

2010.CAPES PhD Scholarship (x2).

2010.Leverhulme Trust Visiting Fellow Grant ( Prof. Jahrmann).

2009. UoPPostgraduate Scholarship.

2009.AHRC Postgraduate Scholarship.

2008.Postgraduate Scholarship: Portuguese Government

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

Theatresand Strategies for Knowledge Transfer, Value £ 2.5k. Co-investigator, Dr MarthaBlassnigg.

2006.Port Eliot and A Foundation, research grant.

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

2006.AHRC Postgraduate Scholarship.

2005.EPSRC Postgraduate Scholarship.

2005.Wellcome Trust/ Theatre Royal Plymouth, research grant.

1992-1996. Assistent in Opleiding Film en televisiewetenschap, University ofAmsterdam.

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.

Research groups

  • AZTEC (Art, Science, Technology Research Consortium)
  • Centre for Media, Art & Design Research (MADr)
  • i-DAT (Institute of Digital Art & Technology)
  • Transtechnology