Papers and publications

Chapters in Anthologies

2022. The Double Life of Things. Place4.
2020Place Anecdote, Theory and Practice and a Young Princess. Place2
2020. Hogarth, The Man Who Copyrighted Himself. In: Op den Kamp, C., & Hunter, D. (Eds.). A History of Intellectual Property in 50 Objects. Cambridge: Cambridge University Press. pp. 49-58.
2019. The Silverfish. Place2.—silverfish.html
2018. ”The Munsterberg ‘Problem’: Between Mind and Soul’, in Steinmetz, R, (Ed.) A Treasure Trove. Friend of the Photoplay – Visionary – Spy? New Trans-disciplinary Approaches to Hugo Münsterberg’s Life and Oeuvre, Leipzig: Universitätsverlag. (In Press)
2015. Technology, Desire and Imagination In: Ascott, R. and Molina, A., eds. (2015). Beyond Darwin: The co-Evolutionary Path of Art Technology and Consciousness.  Valencia: Impremta Provincial, pp. 157-168 and pp.260-268.
2013. Start Playing. In: Jahrman, M., Felderer, B., eds. (2013). Play/Prosume – Schleichende Werbung und 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, Dejan Pestotnik. Slovenia: KID / ACE KIBLA, pp.14-28, pp. 84-95 and pp. 151-163.
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:
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. 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), ISSN1980-9921. [Online]. Available at: (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. 167-188.
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 the History 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. 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.
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 reprinted 2005).
2000. Early Cinema and the Technological Imaginary. Amsterdam: Postdigital Press. (Self-published thesis).

Refereed Journal Articles

2018. with Denham, S. Cognitive Innovation, Irony and Collaboration. Avant. Trends in Interdisciplinary Studies.pp.15-221028.
2018. with Denham, S. Creativity and Cognitive Innovation: A View From the Bridge. Leonardo 50:2
2017 Science, Culture and Epigenetics. Leonardo 50:2
Cognitive Innovation and the Cognitive Trace. Leonardo, Endnote. DoI10.1162/LEON_e_01194.
2016. From Soul to Mind: A History of an Idea. Leonardo, Vol . 48, No. 2 p.108 (editorial). 2016. Cognitive Innovation the Very Idea. Leonardo, 49:3
2015. Leonardo Endnote: Cognitive Innovation and the Cognitive Turn. Accepted for publication. Posted online on 24 Nov 2015.
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 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 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. Ars Electronica 2004 Timeshift – the world in twenty-five years Linz 02.09.04-07.09. 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. Ars Electronica: an Overview. I’Journal. New Delhi: Habitat Center: India.
2004. A Postdigital Universe. Technoetic Arts. (1)3, pp. 191-200.
2003. The Martian 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.
also at:
2002. The Postdigital Analogue and Human Consciousness. Leonardo. 35 (2), pp.119-120.
2002. Ars Electronica. Leonardo. 35 (2), pp. 220-221.
2002. Ars Electronica, 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: Presses Univeritaires De Rennes, pp. 60-84.
1998. A Speculative 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 or a Rhetoric of Funding? Leonardo 31 (5), pp. 349-356. Also at, (University of Bologna) and
1998. Accidental Machines: Understanding How We Understand New Technologies. Design Issues. 14(1), pp. 54-80. Also at,(University of Bologna).
1997. Die Panorama-Ansichten in Execution of Czologosz. Kintop 6. Frankfurt: Stroemfeld/Roter Stern, pp. 89-95.
1996. Impossible Archaeology. In: M. Bal, and T. Elsasser, ed. Brief Issues in Cultural Analysis. Kampen: Kok Pharos, pp.177-180.
1995. CD ROM: 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. 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: Homo extramundeus, Parallellepipeda.  Leuven, Belgium.
2009. Early Cinemaand 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. 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 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, Coleg Glan Hafren, Cardiff.
1998. Between the Waves: Reflections on Art and Public Affairs Since 1968. World Wide Video Festival, Melkweg, 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 Metaphor. 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.Technologyand 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 Cinemaand 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 57thInternational 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. 25thInternational Space Development Conference, Los Angeles.
2006. Cinemaand 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. Cinemaand 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 Reframed2. 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, Rijkshogeschool 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 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 Cinemaand Digital Media – The Very Idea. Federal University, Rio de Janeiro.
1999. New Geographies in Electronic Art. B10c Seminar, Chapter Arts, Cardiff.
1999. Speed and the Technological Imaginary. Speed and Space, B10c. Cardiff.
1998. Does Technology Drive History? 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. 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. Het herbruik 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. Een onorthodox blauwtje. Skrien, 215, pp. 73-74.
1997. Pas op 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. One of 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: (ISSN 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 Siegfried Zielinski; 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. The 17th 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, Education City, Doha.
2003. The Audible Past: Cultural Origins of Sound Reproduction 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 IJsbrand vanVeelen.
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. 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
2006. zero G.  video, 22’30”. Viewing copy: collection of the artist.
2003. St. Clare and the Crookes’ Mill. Digital Video. 3 mins. Viewing copy: collection of the artist.
1995. CD Rom Vs. Baywatch. Video tape, 60mins. Viewing copy: collection of 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 of the artist.
1987. Petite Fetischistes.16mm B/W, 7 mins. Viewing copy: collection of the artist.
1986. World Pictures. 16mm B/W, 8 mins. Viewing copy: collection of the artist.
1986. Paper Boat.16mm Monochrome/tint, film installation, continuous.
1985. Catacombs.16mm B/W, 2 mins. Viewing copy: collection of the artist.
1985. The Bounded Text. 16mm B/W, 7 mins. Viewing copy: collection of the artist.
1985. Tide Glas.16mm B/W, 6 mins. Viewing copy: collection of the artist.
1984. Lie/Lie.16mm B/W and colour, 9 mins. Viewing copy: collection of the 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 the waves’, an exhibition of five objects, nine drawings and a novel… Ikon Gallery, 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 World War. Richard Demarco Gallery, Edinburgh. Catalogue, Edinburgh: Richard Demarco 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 Vivian Gallery, 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 PlusWest Hubard, Chicago.
1984. 56 Group Wales. Oriel Gallery, Cardiff.
1983. La Plissure du Texte. Arnolfini, Bristol. A textual work of distributed authorship exhibited also at Electra83, Paris (Deleted participant).
1983. World Prints Series. Museum of Modern Art, Bologna.
1983. Open Selection. International Association of Artists, Morley Gallery, London.
1982. 56 Group Wales. St Paul’s Gallery, Leeds.
1981. Contemporary Sculpture. Arts Council, touring exhibition, Wales and Scotland.
1981. 56 Group Wales. National Museum of Wales, Cardiff.
1980. 56 Group Wales, Images on Paper. Contemporary Arts Society, touring exhibition, 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 GroupWales. Arts Council touring exhibition, Belfast, Dublin, Aberystwyth.
1976. 56 Group Wales, National Museum of Wales, Cardiff.
1975. 56 GroupWales. Leeds University Gallery, Leeds.
1974. 56 GroupWales. University of Wales Gallery, Cardiff.
1971. Arts Councils Selection. Arts Council Gallery, Belfast.
1970. Play Orbit. Institute of Contemporary Art, London.