Professor Michael Punt

Professor Michael Punt

Professor of Digital Art and Technology

School of Art, Design and Architecture (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 and Research Appointments

1964. – 1968. BA Bath Academy of Art, Fine Art, Sculpture.

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

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

1992. – 1996. AIO, University of Amsterdam.

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

1996. – 2000. Columnist, Skrien.

2000. – PhD. University of Amsterdam.

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

2016. The Technological Imaginary and the Cognitive Trace. In: Avanca Cinema 2016.  Avanca:Editions Cine-Cube Avanca. pp. 1122-1131.

2015. Cognitive Innovation and the Cognitive Trace. Leonardo Endnote. DoI10.1162/LEON_e_01194.

2015. Technology Desire and Imagination. In: Ascott, R. Molina, A. eds. Beyond Darwin: The Co-evolutionary Path of Art, Technology and Consciousness. Valencia: Impremata Provincal. pp157-168 and pp 260-268.

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 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 and Opportunities 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 of Art, 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 American Literature. 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 and Consciousness 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. The Postdigital Multiverse. In: Katia Maciel, ed. Redes Sensoriais: arteciência,technologia. Rio de Janeiro: Contra Capa Livaria, pp. 309 – 317.

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.

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.

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.

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. 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.

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.

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

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


Refereed Journal Articles

2015. Cognitive Innovation and the  Cognitive Turn. Leonardo Endnote. November.

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 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.

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

2002. New Media and Transdisciplinarity.

2002. The Postdigital 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. and Ascott, 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 Velvet Light Trap, 36, pp. 3-20.

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

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. Frankfurt: Stroemfeld/Roter, pp.175-177.

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. GrindingA 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. AutomoniCenatar-ACT, Čakovec.

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

2009.Early Cinema and the Leibig Bilder, Justus Leibig House, Giessen.

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

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.Ento08 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. IlCinema Ritrovata, Bologna. (invited member).

2003. Innovations in Education. Quatar 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 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. Between the Waves: Reflections on Art and Public Affairs Since 1968. WorldWide Video Festival, Melkweg, Amsterdam.

1997.Thomas Edison’s Scientific Cinema. Interpreting Edison; 150th Celebration of Edison’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. Synchrony and the Semi-material Object. University of Applied Art, Vienna.

2008. PlayOrbit: 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, PecciMuseum, 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 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 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 57thInternationalAcademy 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. 25thInternationalSpace 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 PostDigital 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. ConsciousnessReframed2. 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 KongressDeutsche 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, RijkshogeschoolIJselland, 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. Lostin 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 The Blender. Nomadic Transitions. Hochschule für Gestaltung und Kunst, Zurich.

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

2001. The Jelly Baby On My Knee. Extreme Parameters, 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’era Post-Biologique, Ecole National Superieure Des Beaux Arts, Paris.

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

1999. Early Cinema and Digital Media – The Very Idea. 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. Moving Images: Technologies, Transitions. Skrien,34.2, pp. 11-12.

2001.Catching Up with 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.ThePost-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 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. 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 movie magazine? Skrien, 233,p. 33.

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

1999. Tentoonstelling Tacita 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 Delaunay and Vision in the Face of Modernism by Gordon Hughes.

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

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

2007. Technology Matters by David Nye.

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

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

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

2004. Il Cinema Ritrovata.

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

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

2003. Real-Life X-Files: Investigating the Paranormal 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 and Autobiographical by Anthony Slide.

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

2003. Innovations in 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 of the Fantastic Tale by Dorothea E. von Mücke.

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

2003. Coney Island: The People’s Playground by Michael Immerso.

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

2002.Archimedia: Changes and Challenges (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 IJsbrandvanVeelen.

2002.ISEA, 2002: a review.

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

2002. Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris.

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

2001. The Transdisciplinary Wunderkammer: Visual Analogy: Consciousness as the Art of Connecting,by Barbara Maria Stafford, and Devices of Wonder: From the World in a Box to Images on 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.

  Martian View. Editorial. (Leonardo Electronic Almanac).

A full cv is at:

Roles on external bodies



2016. Foundation for Science and Technology,Portugal; Cultures and Cultural 

2016.  Reviewer, FWT (Austrian Science Fund).

2015. AHRC PRC Appointments Panel

2015.  Reviewer, FWT (Austrian Science Fund).

2015. AHRC Fellowships Panel 5. (Chair)

2015. AHRC Fellowships Panel 3. (Chair).

2014. AHRC Research Grants Panel.

2014. AHRC Fellowships Panel 2.

2014. AHRC Fellowships Panel 1.

2014.Reviewer, FWT (Austrian Science Fund).

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 Evaluation Panel.

2013.AHRC Strategic Reviewers’ Group.

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

2012. UK Advisory 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. TIF Forum, 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. - Academic referee. Intellect Books.

2001. -Board. Leonardo Book Series, MIT Press.

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

2000. - Leonardo/ISASTInternational Advisory Board.

1999. - Academic referee, Convergence, Artificial Life and Society.

1998. - Academic Referee, 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

2013- 2017-Contributing-Investigator, (PI Prof Sue Denham) EU FP7 Marie Curie InitialTraining Network, ‘CogNovo: Cognitive Innovation’. €4.1m. This grant funds 14PhD bursaries. Parallel to this scheme Plymouth University also funds 12 UKdoctoral bursaries for research at the intersection of cognition, creativity,the arts and humanities.

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