Nick Montfort

Professor of Digital Media
Massachusetts Institute of Technology
77 Massachusetts Ave, 14E-316
Cambridge, MA 02139
United States

nickm@canisternickm.com • http://nickm.com • ORCID 0000-0001-7558-5160 • Updated August 5, 2022

Education

Ph.D. in computer and information science, University of Pennsylvania, August 2007. Thesis: “Generating Narrative Variation in Interactive Fiction.” Advisors: Mitchell P. Marcus and Gerald Prince.

M.A. in creative writing, Boston University, May 2001. Thesis: “‘Selected Poems’ and Other Poems.” Advisor: Robert Pinsky.

S.M. in media arts and sciences, Massachusetts Institute of Technology, June 1998. Thesis: “A Conversational Computer Character to Help Children Write Stories.” Advisor: Justine Cassell.

B.S. in computer science, University of Texas at Austin, August 1995. Graduated with high honors, Presidential Scholarship recipient.

B.A. in liberal arts, Plan II Honors Program, University of Texas at Austin, May 1995. Dean’s distinguished graduate, graduated with high honors and special honors, Phi Beta Kappa. Thesis: “Interfacing with Computer Narratives: Literary Possibilities for Interactive Fiction.” Advisor: John Slatin.

Employment

Professor of Digital Media, Massachusetts Institute of Technology, Cambridge.
Comparative Media Studies/Writing. Full Professor, July 2016–present. Associate Professor, Tenured, July 2009–June 2016. Assistant Professor, September 2007–June 2009.

Director, The Trope Tank, Cambridge, Massachusetts and New York City.
At MIT, September 2007–present. In New York City, January 2020—present.

Professor II, University of Bergen.
Department of Linguistic, Literary, and Aesthetic Studies. August 2019–July 2021, January 2022—December 2023.

Teacher, School for Poetic Computation, New York City.
Teaching classes occasionally for part or all of terms, Summer 2015–Summer 2018. Organizer of and teacher in the summer intensive Code Words, July 29–August 3, 2018, a session with six teachers.

Principal, Nomnym, New York City.
January 2015—present.

President, Electronic Literature Organization.
June 2010–August 2013. Faculty advisor of the ELO, September 2011–January 2015. Vice president, February 2004–June 2008. Director (member of the board), September 2003–January 2015.

Associate Head, Comparative Media Studies/Writing, Massachusetts Institute of Technology.
July 2012–June 2013.

Research Assistant, University of Pennsylvania, Philadelphia.
July 2002–May 2006. For Michael Kearns, Department of Computer and Information Science.

Visiting Assistant Professor, University of Baltimore.
January–June 2002. School of Information Arts and Technologies, Division of Language, Literature, and Publications Design.

Journalist.
1994–2002. Wrote for Wired, Technology Review, Suck.com (the first Web daily), and other publications.

Editorial Assistant, AGNI, Boston University.
September 2000–May 2001.

Research Assistant, Massachusetts Institute of Technology, Cambridge.
September 1996–June 1998. For Justine Cassell, Gesture and Narrative Language Group, Media Laboratory.

Editing & Publishing

Using Electricity. Book series published by Counterpath, Denver. Includes The Truelist (Nick Montfort, selected by Tim Roberts, director of Counterpath Press), Mexica (Rafael Pérez y Pérez), Articulations (Allison Parrish), Machine, Unlearning (Li Zilles), Encomials (Ranjit Bhatnagar), A Noise Such as a Man Might Make (Milton Läufer), Ringing the Changes (Stephanie Strickland), Data Poetry (Jörg Piringer), Blanks (Hannes Bajohr), Experiment 116 (Rena Mosteirin). Fall 2017–present.

Platform Studies. Book series published by The MIT Press, Cambridge, Massachusetts. Series editors, Ian Bogost and Nick Montfort. Includes Racing the Beam (Nick Montfort and Ian Bogost, selected by Doug Sery of MIT Press), Codename Revolution (Steven E. Jones and George K. Thiruvathukal), The Future Was Here (Jimmy Maher), Flash (Anastasia Salter and John Murray), I Am Error (Nathan Altice), Peripheral Vision (Zabet Patterson), Now the Chips are Down (Alison Gazzard), Minitel (Julien Mailland and Kevin Driscoll), Super Power, Spoony Bards, and Silverware (Dominic Arsenault), The Media Snatcher (Carl Therrien), Who Are You? (Alex Custodio). Spring 2009–present.

Taper. Online literary magazine published twice yearly by Bad Quarto. Publisher, member of the first editorial collective. May 2018–present.

Bad Quarto. Proprietor of this micropress, founded 2005, publishing actively 2018—present.

STREAM. Online anthology of literature in translation. Editor. October–December 1995.

Books

Exploratory Programming for the Arts and Humanities, Second Edition
Cambridge, Massachusetts: MIT Press, May 2021.

Golem
New Sight series, Portland, Oregon: Dead Alive, February 2021.

The Truelist
Using Electricity series, Denver: Counterpath, December 2017.

The Future
Essential Knowledge series. Cambridge, Massachusetts: MIT Press, December 2017.
Translated to Russian as Будущее: принципы и практики созидания, Strekla Press, 2021. Translation to Chinese forthcoming.

Autopia
Buffalo, New York: Troll Thread, October 2016.

2×6
By Nick Montfort, Serge Bouchardon, Carlos León, Natalia Fedorova, Andrew Campana, Aleksandra Małecka, and Piotr Marecki. Global Poetics series. Los Angeles: Les Figues, October 2016.

Exploratory Programming for the Arts and Humanities
Cambridge, Massachusetts: MIT Press, April 2016.
Translated to Polish as Odkrywanie kodu: Wprowadzenie do programowania w sztuce i humanistyce, Michał Tabaczyński, Mariusz Pisarski, and Adam Ladziński, Krakow: korporacjaha!art, 2018.

#!
Denver: Counterpath, June 2014.

10 PRINT CHR$(205.5+RND(1)); : GOTO 10
By Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost, Jeremy Douglass, Mark C. Marino, Michael Mateas, Casey Reas, Mark Sample, and Noah Vawter. Software Studies series. Cambridge, Massachusetts: MIT Press, November 2012.

Riddle & Bind
Urbana, Illinois: Spineless Books, October 2010.

Racing the Beam: The Atari Video Computer System
By Nick Montfort and Ian Bogost. Platform Studies series. Cambridge, Massachusetts: MIT Press, January 2009.

The Electronic Literature Collection, volume 1
Edited by N. Katherine Hayles, Nick Montfort, Stephanie Strickland, and Scott Rettberg. CD-ROM and Web anthology. College Park, Maryland: Electronic Literature Organization, October 2006. Republished by Notre Dame University Press as the CD-ROM accompanying Electronic Literature: New Horizons for the Literary, N. Katherine Hayles, 2008. Republished on USB flash drive by the Electronic Literature Organization in The Electronic Literature Collection, volume 2 (including volume 1), 2013.

Twisty Little Passages: An Approach to Interactive Fiction
Cambridge, Massachusetts: MIT Press, November 2003.

The New Media Reader
Edited by Noah Wardrip-Fruin and Nick Montfort. Book design by Michael Crumpton. CD-ROM design by Nick Montfort. Cambridge, Massachusetts: MIT Press, February 2003.

Artist’s Books

Hard West Turn, 2018 edition
314 pp.; edition of 13 + 3 artist’s proofs. Boston & New York: Bad Quarto, 2018.

Megawatt
246 pp. Cambridge, Massachusetts: Bad Quarto, 2014.
Translated to German as Megawatt by Hannes Bajohr, 394 pp., Berlin: Frohmann Verlag, 2019.

World Clock
239 pp. Cambridge, Massachusetts: Bad Quarto, 2013.
Translated to Polish as Zegar światowy by Piotr Marecki, 256 pp., Krakow: korporacja ha!art, Liberatura series, 2014.

Implementation: A Novel
By Nick Montfort and Scott Rettberg. Book design by Adam Richer. 270 pp., 4-color book documenting the 2004 project Implementation. Bergen, Norway: Scott Rettberg, 2012.

Chapbooks, Booklets & Pamphlets

All-Singing. 24 pp. Leiria, Portugal: Paper View Books, Pluriversalis Collection, May 2022.

Brief Lives. 8 pp. Edition of 50. Banff, Canada: No Press, March 2022.

“From All the Way for the Win.” Part of Seventeen Small Events. Edition of 50. Pamphlet in a set of 17 pamphlets. Calgary, Canada: No Press, April 2020.

Basho. Edition of 50. Pamphlet. Calgary, Canada: No Press, November 2018.

From Hard West Turn. Edition of 50. Pamphlet. Calgary, Canada: No Press, September 2018.

California Diet. Pamphlet. Shropshire, U.K.: Penteract Press, August 2017.

Type, by Christian Bök and Nick Montfort. Edition of 100. Three letterpress sheets in case. Boston & New York: Bad Quarto, July 2018.

Sliders. Print on demand. 40 pp. Boston & New York: Bad Quarto, May 2017.

From All the Way for the Win. Edition of 50. 4 pp. Calgary, Canada: No Press, September 2016.

The First M Numbers. Edition of 80. 4 pp. Calgary, Canada: No Press, 2013.

Troper/Schematorium. Edition of 26. 16 pp. Philadelphia: Bad Quarto, 2005.

Implementation: Selections From a Sticker Novel, by Nick Montfort and Scott Rettberg. 4-color, 32 pp. Photos in this volume by Scott Rettberg. Brigantine, New Jersey: Scott Rettberg, 2004.

2002: A Palindrome Story, by Nick Montfort and William Gillespie. Illustrated by Shelley Jackson. Designed by Ingrid Ankerson. 24 pp. Urbana, Illinois: Spineless Books, 2002. Original New Year's 2002 edition of 202, Philadelphia: Nick Montfort and William Gillespie, January 2002. Full text included in Reflections, ed. Anthony Etherin, Shropshire, U.K.: Penteract Press, 2019.

Trade Names, by “Nick Montfort and William Gillespie” [1/2 of print run] and “William Gillespie and Nick Montfort” [1/2 of print run]. Edition of 58. Urbana, Illinois: Spineless Books, 2001.

Book Chapters

“Generated Literature, Author/Programmers, and Machine Voices,” by Nick Montfort and Judy Heflin. The Cambridge Companion to Literature in the Digital Age. Editor, Adam Hammond. Cambridge UP, forthcoming.

Adventure in the History and Future of Videogames,” afterword, by Nick Montfort and Ian Bogost, to Making the Dragon by Warren Robinett. Chapel Hill, North Carolina: Warren Robinett, forthcoming.

“On Rosmarie Waldrop’s “Shorter American Memory of the Declaration of Independence.’” The Difference is Spreading: Fifty Contemporary Poets on Fifty Poems. Editors, Al Filreis and Anna Strong Safford. University of Pennsylvania Press, April 2022.

“Free, Open Data And The Future Of Text Technologies,” in The Future of Text, editor, Frode Hegland. Southhampton, U.K.: Future Text Publishing, November 2020.

Foreword to Paranoid Transformer by Aleksey Tikhonov. New Sight, December 2020.

“Computational Literary Practices and Processes and Imagination.” A metacommentary in The Digital Imaginary: Literature and Cinema of the Database. Editor, Roderick Coover. Electronic Literature Series, London: Bloomsbury, 2019.

Afterword to A Noise Such as a Man Might Make by Milton Läufer, Using Electricity Series, Denver: Counterpath Press, 2018.

“Conceptual Computing and Digital Writing.” Postscript: Writing After Conceptual Art. Editor, Andrea Andersson. University of Toronto Press, 2018.

“Some Comments.” Code and Concept: Literature and the Digital and Code Und Konzept: Literatur und das Digitale Editor, Hannes Bajohr. Generator series, Berlin: Frohmann Verlag, 2016.

“Batch/Interactive.” Time: A Vocabulary of the Present. Editors, Joel Burges and Amy J. Elias. New York University Press, 2016.

“Adventure.” Debugging Game History: A Critical Lexicon. Editors, Raiford Guins and Henry Lowood. Cambridge, Massachusetts: The MIT Press, 2016.

“Exploratory Programming in DH Pedagogy and Research.” New Companion to the Digital Humanities. Editors, Susan Schreibman, Ray Siemens, and John Unsworth. Hoboken, New Jersey: Wiley-Blackwell, 2016.

“El caso de sistemas concisos de creatividad computational” [“The Case for Concise Computational Creativity Systems.”] Creatividad computacional. Editor, Rafael Pérez y Pérez. Mexico City: Grupo Editorial Patria, 2015.

“Computational Literature.” Between Humanities and the Digital. Editors, David Theo Goldberg and Patrik Svensson. Cambridge, Massachusetts: MIT Press, 2015.

Foreword to Interactive Digital Narrative. Editors, Hartmut Koenitz, Mads Haahr, Gabriele Ferri, Tonguc Ibrahim Sezen, and Digdem Sezen. London: Routledge, 2015.

“Repurposing in ‘Sea and Spar Between,’” by Stephanie Strickland and Nick Montfort. ENTER+ Creative Manual For Repurposing in Electronic Literature, Dive Buki: Košice, Slovakia, pp. 42-45, 2014-2015.

“Platform,” by Ian Bogost and Nick Montfort. The Johns Hopkins Guide to Digital Media. Editors, Marie-Laure Ryan, Lori Emerson, and Benjamin J. Robertson. Baltimore: John Hopkins Press, 2014.

“Interactive Fiction.,” by N. Katherine Hayles and Nick Montfort. The Routledge Companion to Experimental Literature. Editors, Joe Bray, Alison Gibbons and Brian McHale. London: Routledge, 2012.

“An Interactive Fiction System for Narrative Variation.” New Narratives: Stories and Storytelling in the Digital Age. Editors, Ruth Page and Bronwen Thomas. Lincoln: University of Nebraska Press, 2011.

“Toward a Theory of Interactive Fiction.” IF Theory Reader, pp. 25–58. Boston: Transcript On Press, 2011.

“Portal of Ivory, Passage of Horn.” Well Played 1.0: Video Games, Value, and Meaning. Editor, Drew Davidson. Pittsburgh: ETC Press, 2009.

“Obfuscated Code.” Software Studies, pp. 193–199. Editor, Matthew Fuller. Cambridge, Massachusetts: MIT Press, 2008.

“Riddle Machines: The History and Nature of Interactive Fiction.” A Companion to Digital Literary Studies, pp. 267–282. Editors, Ray Siemens and Susan Schreibman. Oxford: Basil Blackwell, 2007.

“Playing to solve Savoir-Faire.Videogame/Player/Text, pp. 175–190. Editors, Tanya Krzywinska and Barry Atkins. Manchester University Press, 2007.

“Narrative and Digital Media.” The Cambridge Companion to Narrative, pp. 172–186. Editor, David Herman. Cambridge University Press, 2007.

“Fretting the Player Character.” Second Person: Role Playing and Story in Games and Playable Media, pp. 139–146. Editors, Pat Harrigan and Noah Wardrip-Fruin. Cambridge, Massachusets: MIT Press, 2007.

“Interactive Fiction.” The Encyclopedia of Language and Linguistics, 2nd edition, vol. 5, pp. 731–735. Editor-in-chief, Keith Brown. Amsterdam: Elsevier Publishers, 2005.

“Artificial Intelligence and Narrative” and “Interactive Fiction.” The Routledge Encyclopedia of Narrative Theory, pp. 27–29 and pp. 249–250. Editors, David Herman, Manfred Jahn, and Marie-Laure Ryan. London: Routledge, 2005.

“Interactive Fiction as ‘Story,’ ‘Game,’ ‘Storygame,’ ‘Novel,’ ‘World,’ ‘Literature,’ ‘Puzzle,’ ‘Problem,’ ‘Riddle,’ and ‘Machine,’” First Person: New Media as Story, Performance, and Game, pp. 310–317. Editors, Noah Wardrip-Fruin and Pat Harrigan, Cambridge, Massachusetts: MIT Press, 2004. Also published online, ebr (Electronic Book Review), 2004.

“The Coding and Execution of the Author.” Cybertext Yearbook 2002–2003, pp. 201–217. Editors, Markku Eskelinen and Raine Kosimaa. Research Centre for Contemporary Culture, University of Jyväskylä, Finland, 2003.

MIT chapter and other sections in Supercade: A Visual History of the Videogame Age, 1971–1984, by Van Burnham, Cambridge, Massachusetts: MIT Press, 2003.

Journal Articles

“A Platform Poetics: Computational Art, Material and Formal Specificities, and 101 BASIC Poems.tdr (the digital review) 01, “Critical Making, Critical Design.” September 12, 2021.

“The Complexity of Poetic Pattern: Recreating Early Work in Machine Translation.” Amodern 8: Translation-Machination, editors, Christine Mitchell and Rita Raley. March 2018.

“Further Reading.” Humanities 2018, 7, 23. Editorial in the special issue, “The Poetics of Computation,” editors, Burt Kimmelman and Philip Andrew Klobucar. doi:10.3390/h7010023 March 9, 2018.

“Renderings: Translating Literary Works in the Digital Age,” by Piotr Marecki and Nick Montfort. DSH: Digital Scholarship in the Humanities. doi:10.1093/llc/fqx010 March 22, 2017.

“Opening a Worl in the World Wide Web: The Aesthetics and Poetics of Deletionism,” by Amaranth Borsuk, Jesper Juul, and Nick Montfort, NMC Media-N: Journal of the New Media Caucus 11:01, Spring 2015.

“The Trope Tank: A Laboratory with Material Resources for Creative Computing,” by Nick Montfort, Erik Stayton, and Natalia Fedorova. Texto Digital 10:2, pp. 53–74. 2014.

“Spars of Language Lost at Sea,” by Nick Montfort and Stephanie Strickland, Formules: Revue Des Creations Formelles 18, pp. 223–235. 2014.

“Guest Editorial: Computational Narrative and Games,” by Ian D. Horswill, Nick Montfort, and R. Michael Young, guest editors, IEEE Transactions on Computational Intelligence and AI in Games 6:2, June 2014.

“cut to fit the toolspun course: Discussing Creative Code in Comments,” by Nick Montfort and Stephanie Strickland. Digital Humanities Quarterly 7.1. 2013.

“Beyond the Journal and the Blog: The Technical Report for Communication in the Humanities.” Amodern 1. February 2013.

“Shuffle Literature and the Hand of Fate,” by Zuzana Husárová and Nick Montfort. ebr (Electronic Book Review). August 5, 2012. Republished in Post-Digital: Dialogues and Debates from electronic book review, Bloomsbury, February 2020.

“Interactive Fiction Communities: From Preservation through Promotion and Beyond,” by Nick Montfort and Emily Short. Dichtung Digital 41. 2012. Republished in Electronic Literature Communities, editors, Scott Rettberg Patricia Tomaszek, and Sandy Baldwin, Center for Literary Computing & ELMCIP, 2015. Translated to Spanish as “Comunidades de Ficción Interactiva: De su preservación a través de la promoción y más allá,” trans. Javier Raya, Meixco City: Centro de Cultrua Digital, 2018.

“The Dreamcast, Console of the Avant-Garde,” by Nick Montfort and Mia Consalvo. Loading… 6:9, pp. 82–99. 2012.

“Random and Raster: Display Technologies and the Development of Videogames,” by Nick Montfort and Ian Bogost. The IEEE Annals of the History of Computing 31:3, pp. 34–43. July–September 2009.

Combat in Context,” by Nick Montfort Game Studies 6:1, December 2006.

“An Experimental Study of the Coloring Problem on Human Subject Networks,” by Michael Kearns, Siddharth Suri, and Nick Montfort. Science vol. 313, no. 5788, pp. 824–827. August 11, 2006.

“Face It, Tiger, You Just Hit the Jackpot: Reading and Playing Cadre’s Varicella,” by Nick Montfort and Stuart Moulthrop. Fineart Forum 17:8, August 2003.

Conference Papers & Presentations

“Repetition and the Sonnet,” Expanded Poetry: Poetics and Politics of Repetition, online, University of Porto, November 23—25, 2022.

“A Minimal Computational Improviser Based on Oral Thought,” Wordplay: When Language Meets Games, online, part of NAACL 2022 in Seattle, July 14, 2022.

“On Using Electricity and Hardcopy,” part of a panel at the ELO 2022 International Conference and Media Arts Festival, by video at Lake Como, Italy, May 30–June 1 2022.

“A Line Alone: One-Liners in Comedy, Computation, and Poetry,” in Proceedings of the ELO 2022 International Conference and Media Arts Festival, and presented by videoconference at Lake Como, Italy, May 30–June 1 2022.

“Understanding Computational Literature by Programming,” in Contemporary Digital Poetics: Proceedings of the First African Electronic Literature Conference, Faculty of Letters and Human Sciences fes sais, Morocco, published May 2022.

“Using Referring Expression Generation to Model Literary Style,” by Nick Montfort, Ardalan SadeghiKivi, Joanne Yuan, and Alan Y. Zhu; presented by Ardalan SadeghiKivi at the online Workshop on Natural Language Processing for Digital Humanities, December 19, 2021.

“Computational Narrative Systems,” a panel discussion with Rafael Peréz y Peréz and Lillian-Yvonne Bertram, by videoconference at the University of Bergen, Norway, December 1, 2021.

Plenary panel “Author/Programmers on Computer-Generated Literature,” Nick Montfort (moderator and participant), Lillian-Yvonne Bertram, David Jhave Johnston, Milton Läufer and Allison Parrish, 15th SLSAeu Conference: Literary and Aesthetic Posthumanism, Bergen, Norway and online, March 5, 2021.

Autopia and The Truelist: Language Combined in Two Computer-Generated Books.” Electronic Literature Organization Conference + Media Arts Festival, Virtual Edition, University of Central Florida, July 16–19, 2020.

“Infinite Verse.” Electronic Literature Organization Conference and Media Arts Festival, University College Cork, Ireland, July 16, 2019.

“Literature after the Technological Singularity.” Lightning talk at the 2018 Electronic Literature Organization Conference and Festival, Montreal, August 17, 2018.

Translations and Renderings Roundtable with Leonardo Flores, Aleksandra Małecka, Ariane Savoie and Natalia Fedorova, 2017 Electronic Literature Organization Conference and Festival, Universidade Fernando Pessoa, Porto, Portugal, July 21, 2017.

Interrupt presenter (panelist) in the Natrual Langauge Processing session, Interrupt 4, Brown Univeristy, April 29, 2017.

Moderator the panel “Hacking Language: Bots, IF, and Esolangs” with Allison Parrish, Emily Short, and Daniel Temkin, South by Southwest Interactive, Austin, Texas, March 11, 2016.

Organizer, moderator, and participant on the panel “Translating Computational Literature,” American Literary Translators Association Conference, Tuscon, Arizona, October 30, 2015.

“The Deletionist.” A reading/talk with Amaranth Borsuk on the panel “The Aesthetics of Erasure,” ISEA 2015, Vancouver, Canada, August 17, 2015.

“Renderings: An E-Lit Translation Project.” Electronic Literature Organization Conference, Bergen, Norway, August 6, 2015.

“Renderings: Translating Literary Works in the Digital Age,” by Piotr Marecki and Nick Montfort. Presented by Piotr Marecki. Digital Humanities (DH2015), Sydney, July 2, 2015.

On the panel “Computers in My Classes: A Pedagogy Roundtable on Workshopping (with) the Digital,” AWP, April 10, 2015.

On the panel “Experiments in Translation,” AWP, April 10, 2015.

On the panel “Mixed Doubles: Collaboration and Textual Tension” at &Now 2015: Blast Radius, CalArts, March 28, 2015.

“nARratives of Augmented Worlds,” by Roy Shilkrot, Nick Montfort, and Pattie Maes. Presented by Roy Shilkrot. ISMAR 2014, Munich, September 12, 2014.

“New Novel Machines: Nanowatt and World Clock,” by Nick Montfort. Hold the Light: Electronic Literature Organization Conference 2014, Milwaukee, Wisconsin, June 19, 2014.

“Computational Editions, Ports, and Remakes of First Screening and Karateka” by Erik Stayton and Nick Montfort. Hold the Light: Electronic Literature Organization Conference 2014, Milwaukee, Wisconsin, June 19, 2014.

“Expressing the Narrator’s Expectations,” by Nick Montfort, Erik Stayton, and Andrew Campana. Intelligent Narrative Technologies 6, Northeastern University, Milwaukee, Wisconsin, June 17–18, 2014.

“An Interactive Narrative System for Narrative-Based Games for Health,” by Langxuan Yin, Timothy Bickmore and Nick Montfort, Intelligent Narrative Technologies 6, Milwaukee, Wisconsin, June 17–18, 2014.

“Using Interactive Narrative in Health Interventions: A Drama Manager Approach,” by Langxuan Yin, Nick Montfort and Timothy Bickmore, Intelligent Narrative Technologies 5, Northeastern University, Boston, October 15, 2013.

“Emulation and Hardware as Videogame Editions,” by Clara Fernández-Vara and Nick Montfort, Pressing Restart, New York University, September 28, 2013.

“Spars of Language Lost at Sea,” by Nick Montfort and Stephanie Strickland, Chercher le text, Electronic Literature Organization 2013, École nationale supérieure des arts décoratifs, Paris, September 25, 2013.

Respondent, Games panel, Chercher le text, Electronic Literature Organization 2013, École nationale supérieure des arts décoratifs, Paris, September 25, 2013.

“Aura in the Age of Computational Production,” a roundtable with Leonardo Flores, Kathi Inman Berens, J.R. Carpenter, Jason Edward Lewis, Erik Loyer, David Jhave Johnston, and Nick Montfort, Chercher le text, Electronic Literature Organization 2013, École nationale supérieure des arts décoratifs, Paris, September 25, 2013.

“Slant: A Blackboard System to Generate Plot, Figuration, and Narrative Discourse Aspects of Stories” by Nick Montfort, Rafael Pérez y Pérez, D. Fox Harrell, and Andrew Campana. Presented by Rafael Pérez y Pérez. International Conference on Computational Creativity (ICCC) 2013, Sydney, June 14, 2013.

“Computational Poetics & Natural Language Liberation” a workshop facilitated by Nick Montfort and John Cayley, Habits of Living, Brown University, 22 March 2013.

“Code as a Cultural Artifact” by Patsy Baudoin and Nick Montfort, Digital Humanities: The Next Generation, Simmons College, March 16, 2013.

“Critical Game Studies: Three Family Resemblances and Some Black Sheep.” The 26th Annual Meeting of the Society for Literature, Science, and the Arts (SLSA). Milwaukee, Wisconsin, September 29, 2012.

“Commenting Creative Code” by Nick Montfort and Stephanie Strickland. Electrifying Literature: Affordances and Constraints, The 2012 ELO Conference. West Virginia University, June 22, 2012.

Participant in the roundtable “Taroko Gorge Remixed,” organized by Mark Sample. Electrifying Literature: Affordances and Constraints, The 2012 ELO Conference. West Virginia University, June 21, 2012.

“Carrying across Code and Language” by Nick Montfort and Natalia Fedorova. Presented by Nick Montfort. In the proceedings Translating E-Literature = Traduire la littérature numérique, Bibliothèque de l'Université Paris 8. Université Paris 8 Vincennes-Saint-Denis/Université Paris Diderot, June 12, 2012.

“Small-Scale Systems and Computational Creativity” by Nick Montfort and Natalia Fedorova. Position paper. Presented by Nick Montfort. Proceedings of the Third International Conference on Computational Creativity (ICCC-12): pp. 82–86. University College Dublin, May 30, 2012.

“Textual Tinkerability: Encouraging Storytelling Behaviors to Foster Emergent Literacy” by Angela Chang, Cynthia Breazeal, Fardad Faridi, Tom Roberts, Glorianna Davenport, Henry Lieberman, and Nick Montfort. Presented by Angela Chang. CHI 2012, May 5–10, 2012, Austin, Texas.

“yes,” a Code Critique for the Critical Code Studies Workshop 2012, January 30–February 20, 2012. An online conference at http://wg12.criticalcodestudies.com/

“Computing Language and Poetry.” Modern Language Association (MLA) Convention, Seattle, January 8, 2012.

“A Reading of Skeleton Seas of Mare Incognitum: An Interactive Fiction Expedition in Curveship.” By D. Fox Harrell and Nick Montfort, presented by D. Fox Harrell. In Proceedings of the 8th ACM conference on Creativity and cognition (C&C '11). Association for Computing Machinery, New York, NY, USA, 435–436. doi.org/10.1145/2069618.2069736 November 5, 2011.

“Beyond Data-Driven Poetry: ppg256 and Concrete Perl.” On the panel “Literary Practice and the Digital Humanities, Redux: Data as/and Poetry.” Digital Humanities 2011, Stanford, June 22, 2011.

“Curveship's Automatic Narrative Variation.” In Proceedings of the 6th International Conference on the Foundations of Digital Games (FDG '11), pp. 211-218, Bordeaux, France. June 29–July 1, 2011.

“Curveship: Adding Control of Narrative Style.” Show & Tell session, International Conference on Computational Creativity 2011 (ICCC-11), Mexico City, April 27, 2011.

“Why Watson Can’t Dance: Attempts at On-Screen Dance in Popular Digital Media.” Dance Technology and Circulations of the Social v2.0, MIT, April 22, 2011.

Participant in Re/Search: Art, Science, and Information Technology | A Joint Meeting of the National Science Foundation and National Endowment for the Arts September 14–15, 2010, Arlington, VA.

“Studying Software by Porting and Reimplementation: A BASIC Case” by Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost, Jeremy Douglass, Mary Flanagan, Mark Marino, Michael Mateas, Casey Reas, Warren Sack, Mark Sample, and Noah Vawter, Critical Code Studies Conference, July 23, 2010, University of Southern California.

“Creating Adventure in Style and The Marble Index in Curveship,” ELO_AI: Archive and Innovate, The 4th International Conference & Festival of the Electronic Literature Organization, Brown University, June 5, 2010.

“Lessons Learned from Designing Children’s Interactive Narratives” by Angela Chang, Pei-Yu Chi, Nick Montfort, Cynthia Breazeal, and Henry Lieberman. Presented by Angela Chang and Pei-Yu Chi. ELO_AI: Archive and Innovate, The 4th International Conference & Festival of the Electronic Literature Organization, Brown University, June 5, 2010.

“Random Mazes,” a discussion in the Critical Code Studies Working Group, February 5–February 21, 2010. An online workshop: http://critcode.ning.com/

“The ppg256 Series of Minimal Poetry Generators.” In Proceedings of the Digital Arts and Culture Conference, 2009. UC Irvine, December 14, 2009.

“Platform Studies: Frequently Questioned Answers” by Ian Bogost and Nick Montfort. In Proceedings of the Digital Arts and Culture Conference, 2009. UC Irvine, December 14, 2009.

“Shaping Stories and Building Worlds on Interactive Fiction Platforms” by Alex Mitchell and Nick Montfort. In Proceedings of the Digital Arts and Culture Conference, 2009. UC Irvine, December 14, 2009.

“Reading Function, Code, and Platform,” The Network as a Space & Medium for Interdisciplinary Art Practice, Bergen, Norway, November 10, 2009.

“Computing Language and Poetry,” ASAP (Association for the Study of the Arts of the Present), Knoxville, TN, October 23, 2009.

“Poetry Generation at the Lower Extreme,” &Now, Buffalo, NY, October 14, 2009.

“Curveship: Expanding the Literary Potential of Interactive Fiction,” HASTAC III, Urbana, IL, April 19–21, 2009.

“The Atari Video Computer System and Platform Studies,” Society for Textual Scholarship, New York, March 18–21, 2009.

“And the Ports Have Names for the Sea: Reimagining Games for the Atari VCS.” Internet Research 9.0, AoIR (Association of Internet Researchers), Copenhagen, October 15–18, 2008.

“Integrating a Plot Generator and an Automatic Narrator to Create and Tell Stories” by Nick Montfort and Rafael Pérez y Pérez. 5th International Joint Workshop on Computational Creativity, Madrid, September 17–19, 2008.

“Computing Makes the ‘Man’: Programmer Creativity and the Platform Technology of the Atari Video Computer System” by Nick Montfort and Ian Bogost. 5th International Joint Workshop on Computational Creativity, Mardrid, 17–19 September 2008.

“Provocation by Program: Imagining a Next-Revolution Eliza,” by Nick Montfort and Andrew Stern, ELO Visionary Landscapes, Vancouver, Washington, May 31, 2008.

“A 256-Character Program to Generate Poems,” HASTAC II, UCLA, May 24, 2008.

“My Generation about Talking,” Software Studies Workshop, UC San Diego, May 21, 2008.

“Ordering Events in Interactive Fiction Narratives.” AAAI Fall Symposium, Arlington, Virginia, November 9, 2007. In Intelligent Narrative Technologies: Papers from the 2007 AAAI Fall Symposium, pp. 87–94. Brian S. Magerko and Mark O. Reidl, program cochairs. Technical Report FS-07–05, AAAI Press, Menlo Park, CA.

“Hammurabi’s Code” by Nick Montfort and Michael Mateas. Society for Literature, Science, and the Arts (SLSA), Portland, Maine, November 2, 2007. Presented by Nick Montfort.

“Platform Studies: Computing and Creativity on the VCS, MPC, and Wii” by Nick Montfort and Ian Bogost. Digital Arts and Culture 2007 (perthDAC), Perth, Australia, September 16, 2007. Presented by Fox Harrell.

“Appropriation and Collaboration in Digital Writing,” a panel discussion with Scott Rettberg and Jill Walker. MiT5 (Media in Transition): Creativity, Ownership, and Collaboration in the Digital Age, MIT, Cambridge, Massachusetts, April 28, 2007.

“New Media as Material Constraint: An Introduction to Platform Studies” by Ian Bogost and Nick Montfort. The 1st International HASTAC Conference, Duke University, Durham, North Carolia, April 21, 2007. Presented by Ian Bogost. In Electronic Techtonics: Thinking at the Interface, pp. 176–192. Proceedings of the First International HASTAC Conference.

“Natural Language Generation and Narrative Variation in Interactive Fiction.” In Computational Aesthetics: Artificial Intelligence Approaches to Beauty and Happiness: Papers from the 2006 AAAI Workshop, pp. 45–52, edited by Hugo Liu and Rada Mihalcea. Technical Report WS-06–04. American Association for Artificial Intelligence, Menlo Park, California. July 2006.

“A Box, Darkly: Obfuscated Code, Weird Languages, and Code Aesthetics” by Michael Mateas and Nick Montfort. In Proceedings of the 2005 Digital Arts and Culture Conference, pp. 144–153, IT University of Copenhagen, December 2005.

“How Stella Got Her Text Back: Trajectories of Word and Image in Creative Computing.” Elective Affinities, the IAWIS/AIERTI 7th International Conference on Word & Image Studies, University of Pennsylvania, September 26, 2005.

“Continuous Paper: The Early Materiality and Workings of Electronic Literature.” Modern Language Association (MLA) Convention, Philadelphia, December 28, 2004.

“Continuous Paper: Print interfaces and early computer writing.” ISEA, Helsinki, August 20, 2004. Presented by Scott Rettberg.

“Narratology and Interactive Fiction.” SSNL’s Narrative: An International Conference, Burlington, Vermont, April 24, 2004.

Combat in Context.” Form, Culture, and Video Game Criticism, Princeton University, March 6, 2004.

“Decisions & Learning in Computational Behavioral Game Theory.” Poster presented at ICML-2003, Twentieth International Conference on Machine Learning, August 23, 2003, and the Young Investigators Poster Session at the DARPA/IPTO Cognitive Systems Conference, November 12, 2003.

“Read Enable: Interpreting & Emulating Electronic Literature.” ACH/ALLC 2003, University of Georgia, May 30, 2003.

“Face It, Tiger, You Just Hit the Jackpot: Reading and Playing Cadre’s Varicella,” by Nick Montfort and Stuart Moulthrop. Digital Arts and Culture 2003 (MelbourneDAC), Melbourne, Australia, May 20, 2003.

“The Editor as Conservator.” Talk on the panel “Whatever it Takes: The New Media Editor,” Digital Arts and Culture 2003 (MelbourneDAC), Melbourne, Australia, May 20, 2003.

“ifMap: A Mapping System for Cooperatively Playing Interactive Fiction Online.” By Jessica Rubart and Nick Montfort. Proceedings of the Technologies for Interactive Digital Storytelling and Entertainment (TIDSE) Conference, pp. 364–369. Darmstadt, Germany, Fraunhofer IRB Verlag, March 24–26, 2003.

“Arby: An Agent for Mediation & Bargaining” by Michael Kearns, Charles Isbell, Nick Montfort and Ben Packer. AAAI Fall Symposium, Cape Cod, 16 November 2002.

“Why Consider ‘Multimedia’?” Panel talk, ACM Hypertext 2002, College Park, MD, June 15, 2002.

“The Line / The Line: Interactive Fiction and Symmetry in Human-Computer Text Exchange.” ACM SIGGRAPH Art Gallery, Los Angeles, August 14, 2001.

“Computer Co-Authors for Fiction.” Computers and Writing, Fort Worth, Texas, May 27, 2000.

Reports, Reviews, Notes & Other Writing

Review of Fetal Position by Holly Melgard in The Minute Review 2:3, December 2021.

Review of print(dialogue) by Blair Simmons in The Minute Review 2:2, September 2021.

“Hyperliterate Swollen Speech,” catalog essay for Joel Swanson: 2010–2020, pp. 78–83. Denver: David B. Smith Gallery, January 2021.

“A Full Explanation of the Petscii Jetski Code” by Nick Montfort and Jesper Juul. Trope Tank Technical Report TROPE-20–01, March 2020.

“Lines of Commodore 64 Poetry.” Convolution 5-7, pp. 201–212, 2019.

“256B on the C64 for 8K.” Proceedings of the 2019 on Creativity and Cognition (C&C ’19). Association for Computing Machinery, New York, pp. 497–501. doi:10.1145/3325480.3329174

“Programmer l’art littéraire.” L’étincelle 18: journal de la création à l’Ircam, trans. Jean-François Cornu. ManiFeste-2018, June 6–30, 2018.

“The Questionable History of the Future.” Excerpt from The Future. Paris Review Daily, January 25, 2018.

An excerpt from The Future. The American Scholar, Shelf Life, January 19, 2018.

“Tiny Commodore 64 Artworks” (Spanish) Revista CIA No. 6, pp. 26–27, 90–101, trans. Milton Läufer, October 17, 2017.

“Two Radical Translation Projects: Renderings and Heftings.” Convolution 4, pp. 62–68, Fall 2016.

Answer to the question “Is the artist necessary for making art today?” Covertext, February 21, 2015.

“New Novel Machines: Nanowatt and World Clock” Trope Tank Technical Report TROPE-13–03, July 2014. “Nowe maszyny powieściowe: Nanowatt i Zegar światowy,” Polish trans., ha!art 46: Literatura eksperymentalna, pp. 6–15, 2014.

“No Code: Null Programs” by Nick Montfort. Trope Tank Technical Report TROPE-13–03, December 2013.

“Videogame Editions for Play and Study” by Clara Fernández-Vara and Nick Montfort. Trope Tank Technical Report TROPE-13–02, October 2013.

“Poetry in Motion,” .Cent Magazine Autumn/Winter 2012, p. 74.

Discussion of five sites for “First Five,” Tumblr.com August 13, 2012.

“‘Taroko Gorge’ Printout” discussion. In the “Rough Cuts: Media and Design in Process” cluster, “The New Everyday,” MeidaCommons. June 05, 2012.

“Carrying across Language and Code” by Nick Montfort and Natalia Fedorova. Trope Tank Technical Report TROPE-12–04, July 2012.

“Creative Material Computing in a Laboratory Context” by Nick Montfort and Natalia Fedorova. Trope Tank Technical Report TROPE-12–03, April 2012.

“XS S M L: Creative Text Generators of Different Scales.” Trope Tank Technical Report TROPE-12–02, January 2012.

“The Trivial Program ‘yes.’” Trope Tank Technical Report TROPE-12–01, January 2012.

“Collaborations in E-Lit” by Stephanie Strickland and Nick Montfort. American Book Review 32: 6, pp. 6–7. September/October 2011.

Note on Zork. Space Time Play: Computer Games, Architecture, and Urbanism: The Next Level, p. 64. Edited by Friedrich von Borries, Steffen P. Walz, Matthias Böttger, Birkhäuser, 2007.

“A quarta Era da Ficção Interactiva.” [“Interactive Fiction’s Fourth Era.”] Nada 8, October 2006. Translated by Paulo Urbano.

Born-Again Bits: A Framework for Migrating Electronic Literature, by Alan Liu, David Durand, Nick Montfort, Merrilee Proffitt, Liam R. E. Quin, Jean-Hugues Rety, and Noah Wardrip-Fruin. Report. Electronic Literature Organization, August 5, 2005.

Review of Façade, interactive drama by Michael Mateas and Andrew Stern. SPAG (Society for the Promotion of Adventure Games) Newsletter 41, July 15, 2005.

“A Bad Machine Made of Words.” Review of Bad Machine, interactive fiction by Dan Shiovitz. August 17, 2004, trAce.

“Discovering Communities through Information Structure and Dynamics: a Review of Recent Research.” University of Pennsylvania Department of Computer and Information Science Technical Report MS-CIS-04–18. August 9, 2004.

Acid-Free Bits: Recommendations for Long-Lasting Electronic Literature, by Nick Montfort and Noah Wardrip-Fruin. Pamphlet. Electronic Literature Organization, June 14, 2004.

Reply in “New Media Literature: A Roundtable Discussion on Aesthetics, Audiences, and Histories,” part two. Questions by Thomas Swiss. NC 2, 2003.

“Literary Games.” Poems that Go 14, Fall 2003.

“Cybertext Killed the Hypertext Star.” Review of Espen Aarseth’s Cybertext. In ebr (Electronic Book Review), Winter 2000/2001. Republished in Post-Digital: Dialogues and Debates from electronic book review, Bloomsbury, February 2020.

“Roboprotest” Review of the art of the IAA (Institute for Applied Autonomy). Technology Review, September–October 2000.

“The Tome of the Unknown Authors” Review of the hypertext novel The Unknown. Technology Review, May–June 2000.

“Digital Decay.” Review of digital works The Impermanence Agent by Noah Wardrip-Fruin et al. and [phage] by Mary Flanagan. Technology Review, January–February 2000.

Review/discussion of The Ed Report by William Gillespie and Nick Montfort. Academic Writing. October 17, 2000.

Review of Dark Mage, interactive fiction by Greg Troutman. SPAG (Society for the Promotion of Adventure Games) Newsletter 22, September 15, 2000.

“DAC 2000: A Choose-Your-Own-Trip-Report!” August 2000.

“In Search of Webs Past: ‘Survival of the Hittest’ Leaves a Precious Record Crumbling.” Technology Review, July/August 2000.

Review of Christminster, interactive fiction by Gareth Rees. SPAG (Society for the Promotion of Adventure Games) Newsletter 20, March 15, 2000.

“The Cyborg Campus: Balancing the Traditional and the Virtual in the College of the Future.” Cover story in Texas Alcalde, September–October 1999.

“Ballard’s Bazaar.” Review of A User’s Guide to the Millennium by J.G. Ballard. Hotwired.com, Pop channel, August 8, 1996.

“A Forgotten Classicist’s Work on Ovid’s Metamorphoses,” on Ditters von Dittersdorf’s symphonies. Classical Outlook, Winter 1991–1992.

Interviews

By Ethan Wang of the National Student Poets Program, “Nick Montfort, Computational Poet and MIT Professor,” February 7, 2022.

By Margaret Rhee, “Ephemeral radical acts: Bridging the digital and textual in the poetics of Nick Montfort,” in Jacket2, March 18, 2021.

By Albert Figurt, desk-talk #1 on Desktopia, February 8, 2021.

Q&A on TNW Answers, March 31, 2020.

By Laura Liu, “A Conversation with Nick Montfort” [Poets], Neocolloqy, October 12, 2018.

By Andy Fitch, “I Look at What Has Been Done So Far: Talking to Nick Montfort,” Blog // Los Angeles Review of Books, February 2, 2018.

By John Biggs, “Author Nick Montfort talks about the softer side of the future.” Technotopia 95, February 2, 2018.

By Peter Dizikes, “3 Questions: Nick Montfort on shaping the future.” MIT News, January 11, 2018.

By Lori Emerson, “Transcript of an interview with Nick Montfort on the Trope Tank,” loriemerson.net, November 21, 2017.

By Brainard Carey, interviewed on Yale University Radio YBCX, August 14, 2017.

By Alvaro Seica, “Less Code is More: A Conversation with Nick Montfort,” video interview recorded September 29, 2015, released as setInterval() Conversation Series 5, March 27, 2017.

By Katrina Allick, interviewed in Helicoper Race: The Movie, a short documentary film premiered at the Babycastles Film Festival, February 18, 2017.

By Michael Martin Shea, interviewed with Joseph Mosconi in The Conversant, January 2017.

By Trevor Rouse, “An Interview with Nick Montfort.” What is a Media Lab? May 3, 2016.

By Roberto Simanowski, “Self-Monitoring and Corporate Interests.” In Digital Humanities and Digital Media: Conversations on Politics, Culture, Aesthetics and Literacy, edited by Roberto Simanowski. Fibreculture Books, Open Humanities Press, 2016.

By Piotr Marecki. “The Trope Tank. The Idea of a Lab in Humanities. Nick Montfort in Conversation with Piotr Marecki” in Zarządzanie w Kulturze, 17:2, 2016.

By Sophie Skach and Zhou Tang, interviewed in From Dada to Java, a short documentary film released in May 2016.

By Alessandro Ludovico, interveiwed in Neural 53, Winter 2016, p. 40–42.

By Dan Faggella, interviewed for the podcast TechEmergence, July 2015.

By Daria Habarova [Дарья Хабарова]. Interview translated to Russian, in NewTone, 2015.

By Piotr Marecki. Interview translated to Polish as “To nie jest muzeum, to jest laboratorium,” in Czas Kultury, 2, 2015.

By Zuzana Husárová. Interview translated to Czech, in Česká Literatura, 2015.

By Luke Leavitt, “Nick Montfort Talks Computers, Literature and #!,” Westword, June 5, 2015.

By Andrew Lipstein. 0s&1s: The Art of Commerce. March 11, 2015.

By Talan Memmott, interviewed in The Exquisite Corpus, a short documentary film, released on Hyperhiz, Spring 2015.

By Piotr Marecki. “Literatura obliczeniowa.” Interview translated to Polish in ha!art 47: Demoscena, 2014.

By Dariusz Jaroń. “Eksperymentalna literatura Nicka Montforta.” Interview translated to Polish in Interia. October 8, 2014.

By Illya Szilak. “The Death of the Novel: How E-Lit Revolutionizes Fiction.” Huffington Post, November 8, 2012.

By Natalia Fedorova [Натальи Фёдоровой]. “Ник Монтфорт.” [Nick Montfort.] Translated to Russian, in Черновик [Chernovik], December 3, 2011.

By James J. Brown, Jr. “The Literary and the Computational: A Conversation with Nick Montfort.” JEP: The Journal of Electronic Publishing 14:2, Fall 2011.

By Jason Scott, interviewed in Get Lamp, a feature documentary film, released July 2010.

By Seb Chan. Short video interview at the Powerhouse Museum, Syndey, January 31, 2010.

By Wiggly on We Talk Games, Podcast, “WTG 20: Stacked to School,” October 22, 2010.

By Michael Tresca. “Interview with Nick Montfort, author of Twisty Little Passages.” RPG Examiner. December 31, 2009.

By Henry Jenkins, with Ian Bogost. “A New ‘Platform’ for Games Research?: An Interview with Ian Bogost and Nick Montfort.” Confessions of an Aca-Fan. April 27 and 29, 2009.

By Geoff Edgars. “A Talk with Nick Montfort: Atari and the Deep History of Video Games.” The Boston Globe, March 8, 2009.

By Shane Hinton, Shawn Rider and Trevor Dodge. Episode 007, First Wall Rebate, October 4, 2008.

By Jason Rohrer. “Interview: Nick Montfort.” Arthouse Games. December 13, 2006.

By Jeremy Douglass. “Workplace is Mediaspace is Cityscape: Nick Montfort on Book and Volume.” The Iowa Review Web. July 2006.

By Seth Thompson. Interviewed along with Cory Arcangel, Toni Dove, Lev Manovich, and Jud Yalkut in Outside the Box, a five-part feature documentary film, released 2005.

By Mathew Tschirgi. “Interview with Nick Montfort, Author of Twisty Little Passages.E-boredom. June 2004.

By dhan. “Pequeños Pasadizos Retorcidos.” Interview translated to Spanish in SPAC (Sociedad para la Preservación de las Aventuras) 33. [English version.] January 2004.

By Derek Skousend. Interview on ifMUD. June 22, 2003.

Invited Talks

“The Computer Generation of Novels — Theory and Practice,” African Electronic Literature Alliance International Workshop Conference (AELAIWC2022), Online conference hosted by the Centre for Digital Humanities University of Lagos (CEDHUL), Nigeria, November 22—25, 2022.

“Maxims,” faculty presentation at the Computational Writing program, The Banff Centre, Banff, Canada, May 6, 2022.

“Literature & the Computational Arts,” part of (Un)Creative Digital Writing, an online talk series hosted at TU Dresden, Germany, December 13, 2021.

“On ‘Arf Magna’ and Other Poems,” a talk by videoconference in Margaret Rhee’s class at the University at Buffalo, November 11, 2021.

“Conceptual Writing and ... Sizecoding?” “The Literature of Exhaustion and ... Sizecoding?” “The Novel and ... Sizecoding?” and “Visual Poetry and ... Sizecoding?” Four minitaure (256 second) video seminars for Lovebyte, a demoparty held online March 12–14, 2021.

“SOSA (The Society of Spoken Art),” a talk by Lupe Fiasco in conversation with Nick Montfort, MIT Center for Art, Science, and Technology, online, February 24, 2021.

“Tiny Computational Poems and the Web Magazine Taper,” an online talk at WinterHack 2021, Pittsburgh, Pennsylvania, February 20, 2021.

“Translation and Computing,” an online talk and disucssion with the Knowledge Alphabets H-Lab, New York University, February 1, 2021.

A talk about Amazing Quest to the Seattle / Tacoma Interactive Fiction Group, by videoconference, December 13, 2020.

“If, Then: Technology and Poetics,” a discussion with Lillian-Yvonne Bertram, The Digital Innovation Lab, University of North Carolina, via videoconference, October 20, 2020.

“Trends in the Computer Generation of Literary Books,” a video talk and live videoconference Q&A at the online symposium Automation and Creativity: Practice, Aesthetics and Reception of the Digital in Music and Literature, TU Braunschweig, Germany, October 8, 2020

“Las aventuras de la muerte,” con Rafael Pérez y Pérez, un taller por videoconferencia, parte de VIRAL : IMAGINA, Mayo 7, 2020.

“Text Interfaces in Creative Computing,” in Aya Karpinska’s History of Interface class, Parsons School of Design, The New School, New York, by prepared video and videoconference Q&A session, April 8, 2020.

“Poetics, Principles, and Histories of Parser-Based Interactive Fiction,” Department of Computer and Information Science, University of Pennsylvania, January 23, 2020.

“Lean Computer-Generated Poetry as Exploration of Language, Culture, and Computation,” CLUNCH (Computational Linguistics Lunch), University of Pennsylvania, January 23, 2020.

“Infinite Verse in Theory and Practice,” INSIDE/OUT talk series, Leeds Beckett University, Leeds, England, October 16, 2019.

“Poet/Programmers, Artist/Programmers, and Scholar/Programmers: What and Who Are We?,” a talk in the Comparative Media Studies Colloquium, MIT Comparative Media Studies Graduate Program, September 26, 2019.

“Micro-Eliza, Micro-Talespin, Micro-Curveship,” a talk at Computational Models and Mimesis, Dartmouth College, Hanover, New Hampshire, July 29, 2019.

“Interactive Narrative” a talk (via videoconference) at TechX Academy 2019, Shanghai, July 23, 2019.

“The Cultural Challenge for Computational Creativity,” keynote at ICCC19, the Tenth International Conference on Computational Creativity, Charlotte, North Carolina, June 21, 2019.

“Seeing Complex Systems through Small Programs,” keynote at Systems: An Interdisciplinary Graduate Conference sponsored by The MA Program of the Gallatin School, NYU, May 17, 2019.

“Learning to Program and Explore,” keynote at the Spring Institute on Teaching and Technology, Trinity College, Hartford, Connecticut, May 16, 2019.

Led the discussion of Bandersnatch at the Black Mirror Viewing Party & Discussion Group, MIT Media Lab, May 2, 2019.

“Translating Computational Poetry,” Boston University Literary Translation Seminar, April 26, 2019.

The Truelist, Autopia, and Untitled [You] as Computing and Poetry” in Margaret Rhee’s class at Harvard University, April 2, 2019.

The Truelist and Computational Poetry” in Erica Hunt’s class at Long Island University, March 21, 2019.

“Finite and Infinite Art.” Keynote address at the Arts & Algorithms Symposium, Columbia University, December 7, 2018.

“On Computer-Generated Literature: #! and Recent Work.” Talk and reading at Worcester Polytechnic Institute, December 4, 2018.

“How Computational Poetry Can Make the Future.” Keynote address at the #DAAROMLEESIK (#WHYIREAD) Festival symposium, Ghent, Belgium, November 23, 2018.

“The Truelist: A Program and Poem.” Talk and reading on the panel “Poetics and Informatics” with Shiv Kotecha, Holly Melgard, and Paul Stephens, The Poetics of Information Symposium, New York University, November 16, 2018.

“How Poetry and Computing Factor into our Future.” Talk at the Center for International Affairs and World Cultures, Northeastern University, Boston, November 14, 2018.

On “Code and Literature,” a panel at the symposium Coder le monde 2 / Coding the World 2, part of the Mutations Creation series of events and exhibits, Forum Vertigo, Centre Pompidou, Paris, June 16, 2018.

Led the discussion of Zork for the Game of the Month Club, Babycastles, New York City, June 6, 2018.

Tour of the Trope Tank for symposium participants offered as part of Grappling with the Futures: Insights from Philosophy, History, and Science and Technology Studies, Harvard and Boston University, April 30, 2018.

“Perspectives and Collective Future-Making,” MEDEA series, University of Malmö, Sweden, March 26, 2018.

“Exploratory Programming,” Open Forum: Computational Thinking and Programming Practice (Teaching to Learn, Learning to Teach), Aarhus University, Denmark. March 23, 2018.

“Starting Art & Inquiry from Code: Growing a Project Computationally,” Aarhus University, Denmark. March 23, 2018.

“Preserving Corpses with Emulation,” at the Stanford Software Preservation Workshop, February 22, 2018. Delivered via teleconference.

Summit Talk “Roguelikes as ‘Concrete Gaming,’ more Poetry than Art” at Clash of Realities, Cologne Game Lab, November 7, 2017.

“True to Platform.” Keynote address at Clash of Realities, Cologne Game Lab, November 8, 2017.

“Exploratory Programming and a very quick workshop” Sarah Lawrence College, Yonkers, New York, September 25, 2017.

“C-Creativity: Cultural Creativity; or, Why is there no middle C?,” Machine Learning for Creativity Workshop, KDD (Knowledge Discovery in Databased) 2017, Halifax, Canada, August 13, 2017.

“Programming Art and Literature,” New Media Consortium Conference, Cambridge, Massachusetts, June 15, 2017.

“Book Productions: The Latest in Computer-Generated Literary Art,” @Party, Artisan's Asylum, Somerville, Massachusetts, June 10, 2017.

Art + Tech Panel: Computational Literature with Xtine Burrough and Eran Hadas, Caltech, Pasadena, CA, April 24, 2017.

“Bringing the Home into the Computer.” Home Computer Subcultures and Society Before the Internet Age, University of Zurich, March 24, 2017.

On the panel “Being There” at Versions: A New Reality Conference, The New Museum, New York, February 25, 2017.

“Exploratory Programming for the Arts and Humanities,” Computer Science Colloquium, Northwestern University, Evanston, Illinois, December 5, 2016.

“Poetry Generated by Computer Program,” English Department, Northwestern University, Evanston, Illinois, December 5, 2016.

On the panel “OFF BOOK” at the ha!art festival, Central Booking, New York, September 25, 2016.

“Rogue, the History of Material Texts, the Grid & Concrete Poetry,” Roguelike Celebration, San Francisco, September 17, 2016.

“Computational Poetry,” Internodal 8, Brooklyn, September 9, 2016.

“Shifting to Free Software,” Shift CTRL, Stanford University, Palo Alto, May 7, 2016.

“Creative Text Generation: #!, ‘The Two,’ Renderings and Antecedents from the 1950s On,” including From #!, Krakatoa Talk Club, Bratislava, January 14, 2016.

“Ordering & Encoding Characters & Computation,” keynote address at The Digital Subject: Codes, National Archives, Paris (Saint-Denis), November 19, 2015.

“Translating Computational Writing,” a talk in the Five Colleges Digital Humanities series, Center for Humanistic Inquiry, Frost Library, Amherst College, November 5, 2015.

“Combinatory Conditions,” a talk with Roderick Coover at a screening of computational films by Coover, Montfort & Scott Rettberg, Automat Gallery, Philadelphia, October 24, 2015.

On a digital literature panel with April Ford, Michael Joyce & Judy Malloy, Intercollegiate Literary Conference, Princeton, October 4, 2015.

On interactive fiction (via video conference), CWL 461 Lit Genres and Forms, University of Illinois at Urbana-Champaign, October 26, 2015.

“Keeping Creative Computing Vital,” Beautiful Data 2, Harvard, July 8, 2015.

“Exploratory Programming for Literary Work,” 4th Computational Linguistics for Literature Workshop, NAACL/HLT, Denver, June 4, 2015.

“Computer Programming for Developing a Better Society,” Understanding Media Studies lecture, The New School, New York City, May 11, 2015.

Respondent, “Tables, Teapots, and a Tartan Couch: Media Archaeology and Computer Histories,” with talks by Jacob Gaboury, Patrick LeMieux, and Laine Nooney, Babycastles, New York City, May 8, 2015.

Master class on computational poetry, Smolny College, Saint Petersburg State University, April 6, 2015.

Master class on computational poetry, Ground Gallery, Moscow, April 4, 2015.

“Translating, Hacking, and Creating New Reditions of Computational Media,” Parsons The New School for Design, March 30, 2015.

“Coding, Characters, & Formats in CPLY’s S.M.S.,” The Davis Museum, Wellesley College, March 17, 2015.

A five-part interruption including a presentation of “Hexes” and “Use of Dust,” Interrupt 3, Brown University, March 13, 2015.

Master class on computational poetry (via video conference), Data Mining & Digital Poetics, University of Florida, March 12, 2015.

“On Computational Platforms & Platform Studies,” Christiane Paul’s Digital Media Theory, The New School, February 4, 2015.

Moderating “Making Computers Strange,” a Communications Forum event with Lev Manovich and Fox Harrell, MIT, December 4, 2014.

“Literary Generators and Computational Art,” Google Boston, Cambridge, MA, December 2, 2014.

On porting, translation, and reimplementation in computational art and literature, Art Technology New England Salon, Boston Cyberarts Gallery, November 19, 2014.

“Urban Poetry Lateral Studio” a master class on computational poetry and urban experience for the MIT School of Architecture and Urban Planning, MIT, November 15, 2014.

On World Clock and generative/bot translation, Bot Summit, MIT, 8 November 2014.

Panel discussion on text generation and the demoscene, Mocak, Krakow, 4 October 2014.

“Games by the Book,” at the opening of the Krakow Games by the Book exhibit, based on the one in Cambridge, MA curated by Clara Fernandez-Vara and Nick Montfort, Arteteka, October 2, 2014.

“From 1950 to #!,” Postscript Symposium, Eli and Edythe Broad Art Museum, East Lansing, Michigan, July 19, 2014.

“Exploratory Programming,” first of four major topics for the online Critical Code Studies Working Group 2014, February 23–March 23, 2014.

“Aesthetic Obfuscated Code,” Symposium on Obfusctation, New York University, February 15, 2014.

“Ten Cases of Computational Poetics,” UCLA, M/ELT, January 17, 2014.

“Computational Poetic Models,” University of Southern California, SCA Complex, January 16, 2014.

“Computational Literary Models for Fun and Poetics,” Concordia University, Montréal, January 10, 2014.

“Scaling Up Literary Models with Curveship and Slant,” 8th Mexican International Colloquium on Computational Creativity, UNAM, Mexico City, November 15, 2013.

“Literary Models,” 8th Mexican International Colloquium on Computational Creativity, UAM Cuajimalpa, Mexico City, November 14, 2013.

“Electronic Literature and Other Forms of Popular Creative Computing.” Keynote address at Writing Literature, Reading Society, Municipal Public Library, Krakow, October 29, 2013.

“10 PRINT,” MIT CSAIL Programming Language & Software Engineering retreat, MIT Endicott House, May 21, 2013.

“Hardware and Emulation to Access Creative Computing,” Preserving.exe Summit, Library of Congress, May 20, 2013.

“10 PRINT,” with Patsy Baudoin, Writing Across the Curriculum, MIT, May 17, 2013.

“10 PRINT,” with four collaborators, Comparative Media Studies Colloquium, MIT, May 9, 2013.

“Popular Programming, Creative Computing, and the Digital Arts.” Department of Computer Science, Dartmouth College, April 18, 2013.

“10 PRINT CHR$(205.5+RND(1); : GOTO 10.” With Patsy Baudoin and John Bell, Intermedia MFA Visiting Artist Series, University of Maine, April 9, 2013.

“E-Lit in the Library.” Electronic Literature Showcase, Library of Congress, April 5, 2013.

“Approaching Intersections: Speed Up.” Keynote address at Intermediality in the Digital Arts, Rutgers, March 6, 2013.

“Creative Computing and Literary Code.” Vassar College, February 7, 2013.

“Of Five or Ten Minds about Collaboration.” Panel discussion with three other authors of 10 PRINT and four authors of Digital_Humanities, University of Southern California, Kerkhoff Hall, January 22, 2013.

“Of Five or Ten Minds about Collaboration.” Panel discussion with two other authors of 10 PRINT and four authors of Digital_Humanities, UCLA, Broad Art Center, January 22, 2013.

10 PRINT CHR$(205.5+RND(1)); : GOTO 10.” Microsoft Research, Redmond, WA, January 17, 2013.

“Creative Computing, Beginning with 10 PRINT.” With Patsy Baudoin and Noah Vawter, Boston Cyberarts Gallery, November 28, 2012.

“Programming for Fun, Together.” Keynote address at ELMCIP’s Remediating the Social, Edinburgh, November 1, 2012.

“The ELO and Two E-Lit Exhibits.” Workshop on Curating and Exhibiting Electronic Literature, Bergen, Norway. October 30, 2012.

“Electronic Literature’s Units and Bindings.” Keynote address at the National Information Standards Organization’s E-Book Renaissance, Boston, October 18, 2012.

“The Art of Operationalization.” Talk at the Media Systems Workshop, UC Santa Cruz, August 27, 2012.

“Gamer vs. Scener, or, Scener Theory.” Keynote address at DiGRA Nordic 2012, Tampere, Finland, June 7, 2012.

“The One Liner and Computational Art.” Talk hosted by the Digital Environments Cluster, University of Michigan, March 9, 2012.

“On Computational Platforms.” Keynote address at the Chicago Colloquium on Digital Humanities and Computer Science, Loyola University, Chicago, November 20, 2011.

“On Small-Scale Poetry Generation.” Digital Cultural Poetics Series, University at Buffalo, New York, October 11, 2011.

“Encounters with Electronic Literature.” Talk at the University at Buffalo, New York, October 10, 2011.

“Deinventing the Wheel.” A Talk at Experiencing Stories with/in Digital Games, Concordia University, Montréal, October 1, 2011.

“Collaborative Writing: A Convergence of Authors.” On a panel at the 14th Jornada de Literatura, University of Passo Fundo, Brazil, August 25, 2011.

“Electronic Literature.” Talk concluding with a reading of “My Generation about Talking” in English and Brazilian Portuguese. 14th Jornada de Literatura, University of Passo Fundo, Brazil, August 24, 2011.

“An Overview of Curveship.” Part of the “Narrative Interfaces” discussion, One Laptop Per Child, June 17, 2011.

“The Digital Rear-View Mirror.” Texas Institute for Literary and Textual Studies Symposium: The Digital and the Human(ities). University of Texas at Austin, May 28, 2011.

“Interactive Fiction & Curveship.” Games for Social Change class, Tufts University, April 5, 2011.

“Five Comments on the Oulipo.” Oulipolooza, Kelly Writers House, University of Pennsylvania, March 15, 2011.

“Platform Studies, Material Computing, and the Atari VCS.” History of Material Texts Workshop, University of Pennsylvania, March 14, 2011.

“An Overview of Curveship,” the IF Summit at PAX-East, March 13, 2011.

“Curveship: Interactive Narrating for Interactive Fiction,” UC Santa Cruz, January 11, 2011.

“Line of Inquiry: Many Authors Explore Creative Computing Through a Short Program,” UC Santa Cruz, January 10, 2011.

“A One-Line Key to Creative Computing,” 5th Mexican International Colloquium on Computational Creativity, UAM Cuajimalpa and UNAM, Mexico City, November 12, 2010.

On the panel “The Novel: A Prognosis” with Daphne Kalotay and David Shields, moderated by Jay Parini, Boston Book Festival, Boston Public Library, 16 October 2010.

“Porting Adventure to Curveship,” a talk at the Department of Computer Science, Tufts University, October 14, 2010.

A talk on interactive fiction in English 391a, Yale University, September 29, 2010.

“Community and Interactive Fiction,” Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) Seminar, Bergen, Norway, September 20, 2010.

“Unlocking Creative Computing,” a talk at Washington University, Computer Science & Engineering, September 10, 2010.

“Racing the Beam,” talk at the MIT Museum, May 14, 2010.

“Writers in the Digital Age,” panel discussion with Nicholas Negroponte and Jeffrey Mayersohn, sponsored by the Boston Book Festival, Grub Street Muse and the Marketplace May 2, 2010.

Panel discussion with Dave Lebling, Steve Meretzky, Brian Moriarty, Andrew Plotkin, and Don Woods at the premiere of Get Lamp, Penny Arcade Expo East, Boston, March 26, 2010.

“The Atari VCS and Computing Systems in Culture,” Department of Computer Science, University of North Dakota, Grand Forks, ND, March 24, 2010.

“Beyond the Page” panel discussion with Mark Amerika, Deena Larsen, and Frank X. Walker, moderated by Kyle Conway, University of North Dakota Writers Conference: Mind the Gap: Print, New Media, Art, Grand Forks, ND, March 24, 2010.

“Beyond the Screen” panel discussion with Mark Amerika, Cecelia Condit, Scott Miller, and Stuart Moulthrop, moderated by Joel Jonientz, University of North Dakota Writers Conference: Mind the Gap: Print, New Media, Art, Grand Forks, ND, March 25, 2010.

“Edges & Potential in Writing,” In(ter)ventions: Literary Practice at the Edge, Banff, Canada, February 19, 2010.

“Interactive Fiction: Yesterday, Today, and Tomorrow,” Department of Computer Science, University of New South Wales, Sydney, Australia, January 25, 2010.

Talk about Atari and Infocom games of the 1980s on a panel with John Passfield and Jarrad Farbs, Powerhouse Museum, Sydney, Australia, January 31, 2010.

Panel discussion of 1980s games with Steve Wang and Jarrad Farbs, hosted by Bajo and Hex from ABC TV’s Good Game, Powerhouse Museum, Sydney, Australia, January 29, 2010.

“Think Inside the Box: Platform Studies,” with Ian Bogost, Center for Computer Games and Virtual Worlds, UC Irvine, December 11, 2009.

“Events to Natural Language in the IF System Curveship.” Workshop on Situated Understanding of Intention, University of Pennsylvania, July 24, 2009.

“Interactive Fiction: Virtual Reality You Read.” AXIOM Gallery, Boston, July 14, 2009.

“Curveship: An Interactive Fiction System for Interactive Narrating,” CALC-09. Proceedings of the NAACL HLT Workshop on Computational Approaches to Linguistic Creativity, pp. 55–62, Boulder, Colorado, June 4, 2009.

“Platform Studies and the Atari VCS (Atari 2600),” The Berkman Center for Internet and Society, Harvard University. February 19, 2009.

“A New Dimension for All-Text Interactive Fiction,” Dartmouth College. 11 February 2009.

“Changing the Way Interactive Fiction is Told,” Goldsmiths, University of London. January 22, 2009.

“Writing, Digital Media, and MIT,” Kainan University, Taiwan. January 5, 2009.

“Narrative Variation for Telling Fiction in New Ways,” 3rd International Colloquium in Creativity, Cognition and Computers, UAM Cuajimalpa, Mexico City, November 7, 2008.

“Imaginative, Aesthetic, Executable Writing.” Codework: Exploring relations between creative writing practices and software engineering. NSF Workshop, West Virginia University, Center for Literary Computing, April 3–6, 2008.

“Narrative Variation for Interactive Fiction.” NT2, Université du Québec à Montréal, March 20, 2008.

“The Atari VCS: Games and the Platform.” University of Baltimore, December 15, 2007.

“Skinnable Worlds.” Keynote, World Building: Space and Community, the 2007 University of Florida Conference on Games and Digital Media. March 2, 2007.

“Exercises in Interactive Fiction Style.” Program in Writing and Humanistic Studies, MIT. December 14, 2006.

“Esoteric Languages, Obfuscated Code, and the Aesthetics of Programming.” Programming Languages Group, Harvard University. November 22, 2006.

“New Media’s Workings.” Imagining Intellectual Property in a Networked World Working Group, Center for Cultural Analysis, Rutgers University, New Brunswick, NJ, April 25, 2006.

“Interactive Fiction.” Off Topic Lunch, Inference Group, University of Cambridge, December 13, 2005.

“Collaborative Writing and Interactive Fiction.” The Upgrade!, Eyebeam Atelier, New York City, December 8, 2005.

“A Box, Darkly: Obfuscated Code, Weird Languages, and Code Aesthetics.” Digital Dialogues series, MITH (Maryland Institute for Technology in the Humanities), University of Maryland, November 17, 2005.

“Riddle Machines.” New England Regional New Media Consortium (NMC) Conference, Yale University, October 6, 2005.

“On Authorship, E-lit, and Blogs.” Talk by videoconference to the Atelier-Auteur (Authorship Workshop) of RTP-DOC in Paris. March 17, 2005.

“Collaborative Online Writing, Interactive Fiction, and New Media.” STG (Scholarly Technology Group), Brown University, December 1, 2004.

“Collaborative Online Writing, Interactive Fiction, and New Media.” MITH (Maryland Institute for Technology in the Humanities), University of Maryland College Park. November 19, 2004.

“Interactive Fiction and New Media History.” Digital Arts and Electronic Literature Series, Richard Stockton College of New Jersey. October 15, 2004.

“Figuring Interactive Fiction.” Invited guest graduate talk. Narr@tive: Digital Storytelling, University of California, Los Angeles, April 22, 2004.

“Continuous Paper.” History of Material Texts Workshop, University of Pennsylvania, February 23, 2004.

“Twisty Little Passages.” E-Fest 2004, Brown University, February 19, 2004.

“Condemned to Reload It: Forgetting New Media” Copyright and the Networked Computer: A Stakeholder’s Congress, Washington, D.C., November 8, 2003.

“Further Reading: Interpreters & Emulators for Electronic Literature.” e(X)literature, University of California at Santa Barbara, April 4, 2003.

The New Media Reader: Overview of Migration Strategies.” With Noah Wardrip-Fruin. e(X)literature, University of California at Santa Barbara, April 3, 2003.

“New Media: Can the Past Talk to the Future?” With Noah Wardrip-Fruin. Comparative Media Studies Colloquium, MIT, March 13, 2003.

“Reading New Media.” On a panel with Robert Coover, David Durand, Bill Seaman, and Noah Wardrip-Fruin. STG, Brown University, March 11, 2003.

Twisty Little Passages: Interactive Fiction as a Form of Literature.” Richard Stockton College of New Jersey, November 7, 2002.

Tutorials and Short Courses

“Computer Generation of Poetry,” African Electronic Literature Alliance International Workshop Conference (AELAIWC2021), Online and in-person conference hosted in Lagos, Nigeria and Fez, Morocco, by videoconference, November 22, 2021.

“Tout Istwa Se Istwa: Cultural Story Machines,” workshop with Haitian poet, singer, songwriter, and rapper BIC and Michel DeGraff, MIT, April 2, 2019.

“Exploratory Programming for the Arts and Humanities,” workshop for Society of Spoken Art apprentices, Breckenridge, Colorado, October 12–13, 2018.

“Exploratory Programming for the Arts and Humanities,” a workshop at Jagielloński University, Krakow, October 5–7, 2017.

“Exploratory Programming Workshop,” University of Massachusetts Lowell, Lowell, Massachusetts, October 27, 2016.

“Exploratory Programming Workshop,” International Digital Media Arts Association (iDMAa) conference, Winona State University, Winona, Minnesota, October 8, 2016.

“Exploratory Programming Workshop,” Art Technology New England, Boston Cyberarts Gallery, August 28, 2016.

“Explore Programming,” a workshop for complete beginners, School for Poetic Computation, New York City, May 15, 2016.

“Explore Programming,” a workshop for complete beginners, Babycastles, New York City, April 23, 2016.

Commodore 64 digital poetry workshop, Rutgers University-Camden, Camden, New Jersey, March 22, 2016.

“Exploratory Programming Workshop,” Midwest Interdisciplinary Graduate Conference, University of Wisconsin-Milwaukee, February 20, 2016.

“Computational Poem Modification Workshop,” New Jersey Institute of Technology, September 29, 2015.

“Shebang Bash,” a workshop on creating computational poetry followed by From #! and related work, with presentations by workshop participants, Babycastles, New York City, July 2, 2015.

“Commodore 64 Workshop,” New York University Game Center, February 28, 2015.

“Translating Textual Generators Workshop,” Arteteka, Kraków, October 3, 2014.

“Exploratory Programming Workshop,” New York University Media, Culture, and Communication, February 14, 2014.

“Workshop in Exploratory Programming,” UAM Cuajimalpa, Mexico City, two meetings on November 11–12, 2013.

“10 PRINT Workshop.” With Patsy Baudoin and John Bell, University of Maine, April 10, 2013.

Commodore 64 BASIC Programming Workshop. UCLA, Broad Art Center, January 22, 2013.

“Workshop on Computation and Language,” workshop on building simple poetry generators using Python, University at Buffalo, New York, October 10, 2011.

“Collaborative Writing Workshop,” Hexagam Condordia & TAG, Concordia University, Montréal, September 30, 2011.

Digital Poetry & Art (Published)

“consequence,” computer-generated novel, November, 2019; The Electronic Literature Collection, volume 4, June 2022.

“Progress,” poem/artwork for Web browser, April 21, 2021; the html review 1, Spring 2022.

“Arf Magna,” poem/artwork for Web browser, November 10, 2021; The New River, Fall 2021.

“The Bug” by Milton Läufer and Nick Montfort. Winner of “gLiTChiEsT” prize at BrowserFest 2021, April 2021.

“Quarters” by Derek Beaulieu and Nick Montfort. Taper 5: Pent Up, Fall 2020.

“Amazing Quest.” nickm.com, for the 2020 IF Comp, October 1, 2020.

“Dial” by Lai-Tze Fan and Nick Montfort. nickm.com, April 13, 2030; The New River, Spring 2020; The Electronic Literature Collection, volume 4, June 2022.

“Straight Strategies,” Taper 4: A New Trope, Spring 2020.

“Petscii Jetski,” by Nick Montfort and Jesper Juul. nickm.com, for the BASIC 10 Liner Contest, March 31, 2020.

“Infillers.” Der Maulkorb: Blätter für Literatur und Kunst special digital poetry edition, March 14, 2020.

“Construction of the Tower,” “Attitudes/Compound,” “Typing Her,” “Right Around,” and “The Spot.” gl-ph Issue 00 - Source, Fall 2019—Spring 2019.

“Field” and “US.” Taper 1: A Minimal Labyrinth, Spring 2018.

“Wastes,” a 256-byte text adventure in Python 3 and “VITA,” a 256-byte classic hypertext. nickm.com, February 16, 2017 and March 3, 2017.

“Random By,” digital poem based on a Beckett play, Cream City Review I/O, 40.1, Spring/Summer 2016; WordHack: A 5-Year Anthology, July 2019.

“Una página de Babel,” nickm.com, August 25, 2015; Cream City Review I/O, 40.1, Spring/Summer 2016.

“Use of Dust,” an erasure of A House of Dust by Alison Knowles and James Tenney. nickm.com, March 13, 2015; Cream City Review I/O, 40.1, Spring/Summer 2016.

n (squares), Commodore 64 BASIC program in response to Christopher Knowles's work, commissioned by the Philadelphia ICA and shown on their site, December 18, 2015.

Untitled poem (“America/América”), nickm.com, December 4, 2015.

“The Great Vowel Shift,” PuzzleScript game, nickm.com, July 19, 2015.

“More Tongue,” demoscene release, July 16, 2015.

“Hexes,” digital poem followed by “Sextes” (French, with Ariane Savoie) and “Hexen” (German). nickm.com, March 13, 2015.

“The Era Canto,” one-line Commodore 64 BASIC program, nickm.com, January 1, 2015.

Renderings phase 1, translated and bilingual computational literature (Chinese, Japanese, French, German, Polish, Spanish), many ported to the Web: “Automation,” Andrew Campana; “Contemporary Japanese Poetry Generator,” SHINONOME Nodoka; “Dizains,” Marcel Bénabou; “WEB h a l l e l u j a h 「a」-blood/arch,” ni_ka; “MAZ - Mutantist Autonomous Zone,” Walter Van Der Mäntzche; “Poem 21,” Amílcar Romero; “Poet,” Michał Rudolf; “Sample Automatic Poem,” Félix Remirez; Seika no Kôshô,” Andrew Campana; “Shan Shui,” Qianxun Chen; Speeches,” “Marek Pampuch; Töte das Gedicht,” Johannes Auer; “Triolets,” Paul Braffort. The Renderings phase 1 team of translators/bilingual writers was Nick Montfort (project organizer), Patsy Baudoin, Andrew Campana, Qianxun Chen, Aleksandra Małecka, Piotr Marecki, and Erik Stayton; Cura, December 2014; Electronic Literature Collection, volume 3, February 2016.

Memory Slam, recreation of batch-era computational poems/text generators: “Love Letters” by Christopher Stratchey (1952), “Stochastic Texts” by Theo Lutz (1959), “Permutation Poems” by Brion Gysin and Ian Sommerville (1960), and “A House of Dust” by Alison Knowles and James Tenney (1967), released at the NYU ITP Code Poetry Slam, November 14, 2014; “Random Sentences” by Victor H. Yngve (1961) commissioned for a reading at T Space and released August 1, 2016; “Random Poetry” by Michal Murin (1989) translated as part of the Renderings project and released July 28, 2017; “Generator of Five-Word Lines,” a speculative reimplementation of an untitled J. M. Coetzee project, November 7, 2018.

Waves 3 Ways (Topsy’s Revenge), demoscene production (Wild category) for text display, 8-bit 8hz audio, and Tesla coil by Nick Montfort and Bernie Innoceni as nom de nom and Codewiz; Shown at @Party, MIT, June 14, 2014.

Modern Perverbs. nickm.com, May 23, 2014.

Nanowatt, demoscene production by Nick Montfort, Michael C. Martin, and Patsy Baudoin as nom de nom, McMartin, and Baud 1. Récursion, Montréal, November 30, 2013.

Upstart. nickm.com, October 9, 2013. Remade as Re-Upstart in 2017.

Round. New Binary Press, August 14, 2013; In #!, 2014.

Duels — Duets. Stephanie Strickland and Nick Montfort, New Binary Press, August 14, 2013.

The Deletionist. Nick Montfort, Amaranth Borsuk, and Jesper Juul. thedeletionist.com. June 2013.

Three Rails Live, Roderick Coover, Nick Montfort and Scott Rettberg. Documentation in bleuOrange 7, 2013.

“Lede.” nickm.com, November 22, 2012.

Concrete Perl. nickm.com, June 26, 2011; The New River, Fall 2011; In #!, 2014. Followed by Russian and Greek transliterations.

Curveship, a framework for IF development, nickm.com, February 2, 2011—present.

“Sea and Spar Between.” Nick Montfort and Stephanie Strickland. Dear Navigator, Winter 2010; The Winter Anthology, 2013; Electronic Literature Collection, volume 3, February 2016.

Post Position blog, May 10, 2009–present.

“Taroko Gorge.” nickm.com, January 9, 2009; In #!, 2014; Techsty 10 with three remixes, two translated articles and and afterword, January 2016; With remixes, in Electronic Literature Collection, volume 3, February 2016.

“The Two.” Grand Text Auto, November 20, 2008; The New River, Fall 2011; In #!, 2014.

“Through the Park.” Grand Text Auto, November 20, 2008; The New River, Fall 2011; In #!, 2014.

“The Purpling: A Poem.” The Iowa Review Web 9:2, July 2008.

“My Generation about Talking.” nickm.com, screened at the Software Studies Workshop, May 21, 2008.

ppg256 (Perl Poetry Generator in 256 characters) series, nickm.com, January 2008–June 2012, In #!, 2014.

CC, commissioned for Carmen Conde’s centenary in 2007. June 2006.

Digital Ream. Based on Ream, April 2006. nickm.com, May 2006.

“The Executor,” William Gillespie and Nick Montfort. BathHouse 4:1, December 2005. Reimplemented in p5.js, October 21, 2017.

Book and Volume, interactive fiction, Auto Mata, November 2005.

Mystery House Taken Over, by Nick Montfort, Dan Shiovitz, Emily Short, and the Mystery House Occupation Force. A modifiable reimplementation of Mystery House (Roberta and Ken Williams, 1980) launched with several modified versions of the game, including Nick Montfort’s Mystery House Kracked by the Flippy Disk, March 15, 2005.

Implementation, Nick Montfort and Scott Rettberg. January 2004–December 2004.

Fields of Dream, Nick Montfort and Rachel Stevens, Poems that Go. Fall 2003.

Grand Text Auto, Mary Flanagan, Michael Mateas, Nick Montfort, Scott Rettberg, Andrew Stern, and Noah Wardrip-Fruin. May 2003–May 2009.

Unready.net, re-captioned version of Ready.gov, Josh Kellar and Nick Montfort. February 2003.

New in Email 1 January 2002–December 20, 2002. Booklet, January 1, 2003.

“The Girl and the Wolf.” BeeHive 4:1, March 2001.

Ad Verbum. October 2000.

The Ed Report, serialized hypertext novel and hoax by William Gillespie and Nick Montfort, design by Dylan Meissner. edreport.com. 2000.

Winchester’s Nightmare: A Novel Machine. Published as a physical computer (edition of 10) and on nickm.com, October 1999.

The Help File with pamphlet “Getting Started.” Published as a 3.5" floppy disk, edition of 100, June 1999.

Film Writing

Seized House, 16mm film, black and white, mono sound, 15 mins, produced and directed by Brett Sharpton, written by Nick Montfort, based on Julio Cortázar’s “Casa tomada (House Taken Over),” June 2000.

Pullover, Super8 film on video, color, mono sound, 9 1/2 mins, directed by Daniel Erickson, written and produced by Nick Montfort, inspired by Julio Cortázar’s “No se culpe a nadie (Don’t Blame Anyone),” December 1999.

Translations

Cadavres Exquis / Exquisite Corpses, edition of a 1984 type-in BASIC program by Philippe Henri running in emulation in the original French and in English translation by Nick Montfort and Ariane Savoie, Vassar Review, Digital Edition, June 2018.

Random Poetry, edition of a 1989 MUMPS program by Michal Murin, in JavaScript and Python reimplementations in the original Slovak and in English translation by Nick Montfort and Zuzana Husarova, Memory Slam, July 28, 2017.

MAZ - Mutantist Autonomous Zone, translation by Nick Montfort and Patsy Baudoin of the online project ZAM - Zone Autonome Mutantiste by Walter Van Der Mäntzche, Cura, December 2014.

Poem 21, translation by Nick Montfort of a 1988 type-in BASIC program, Poema 21, by Amílcar Romero, runnning in in-browser Commodore 64 emulation, Cura, December 2014.

Sample Automatic Poem, translation by Nick Montfort of a 2009 JavaScript program by Félix Remirez, Cura, December 2014.

Speeches, translation by Nick Montfort and Piotr Marecki of a 1993 type-in BASIC program by Marek Pampuch, Cura, December 2014.

Dead Reckoning, translation by Nick Montfort of the Spanish parser-based interactive fiction Olvido Mortal by Andrés Viedma Peláez, July 2003.

Projects of Mine Translated and Remixed

“Sonnet Corona,” March 2020

Rettberg, Scott. “Still in the Apartment.” April 2020. Shared on the Web.

Devanny, David. “Royal Icing.” April 2020. Shared on the Web.

Borsuk, Amaranth. “Curt Curtal Sonnet Corona.” December 2020. A print-your-own artist's book. Part of Quarantine Public Library.

“Una página de Babel,” Nick Montfort, 2015

Seiça, Álvaro. “setInterval mod intro” 2017. Shared on the Web.

“Modern Perverbs,” 2014

Weiner, Matt. “Modern Perverbs II.” 2014. Shared on the Web.

“Three Rails Live,” Roderick Coover, Nick Montfort and Scott Rettberg, 2013

Ouellette, Carolyne and Jordan Tudisco. “Trois Rails Sous Tension.” French translation. Voices by Serge Bouchardon and Laetitia LeChatton. Published in bleuOrange 7, presented at the 2013 ELO conference Chercher le Texte in Paris.

“Sea and Spar Between,” Nick Montfort and Stephanie Strickland, 2010

Gorska-Olesinska, Monika and Mariusz Pisarski. “Między Reją a Morzem.” Polish translation of the poetry generator in JavaScript. 2013. Published on the Web.

Sample, Mark. “House of Leaves of Grass.” Poetry generator in JavaScript. 2013. Shared on the Web.

“Taroko Gorge,” Nick Montfort, 2009

Rettberg, Scott. “Tokyo Garage.” Poetry generator in JavaScript and video of automated reading by machinima clown. 2009. Shared on the Web; exhibited in several shows, 2009–.

Carpenter, J. R. “Gorge.” Poetry generator in JavaScript. 2010. Shared on the Web; output was the basis for the book GENERATION[S], J. R. Carpenter, Traumawien: 2010.

Carpenter, J. R. “Whisper Wire.” Poetry generator in JavaScript. 2010. Shared on the Web; presented at the 3rd International Conference on Interactive Digital Storytelling.

Carpenter, J. R. “Along the Briny Beach.” Poetry generator in JavaScript. 2011. Shared on the Web; presented at E-Poetry 2011.

Memmott, Talan. “Toy Garbage.” Poetry generator in JavaScript. 2011. Shared on the Web.

Snodgrass, Eric. “Yoko Engorged.” Poetry generator in JavaScript. 2011. Shared on the Web.

Sample, Mark. “Takei, George.” Poetry generator in JavaScript. 2011. Shared on the Web; read at the 2012 Electronic Literature MLA Off-site Reading.

Plotkin, Andrew, “Argot Ogre, OK!” Poetry generator in JavaScript. 2011. Shared on the Web.

Klink, Flourish. “Fred & George.” Poetry generator in JavaScript. 2011. Shared on the Web; read at the 2012 Electronic Literature MLA Off-site Reading.

Sylvain, Adam. “Inside the House.” Poetry generator in JavaScript. 2011. Shared on the Web.

Howell, Brendan. “Desginer Gulch.” Poetry generator in JavaScript. 2012. An installation in the lobby of the Berliner Technische Kunsthochschule.

Sylvain, Adam. “Inside the House.” Poetry generator in JavaScript. 2012. Shared on the Web.

Flores, Leonardo. “Taroko Gary.” Poetry generator in JavaScript. 2012. Shared on the Web.

Mahzoon, Alireza. “Snowball.” Poetry generator in JavaScript. 2012. Shared on the Web.

Tempest, Sonny Rae. “Camel Tail.” Poetry generator in JavaScript with lyrics from Metallica. 2012. Shared on the Web.

Berens, Kathi Inman. “Tournedo Gorge.” Poetry generator in JavaScript. 2012. Shared on the Web; exhibited at Ars Technologika; in Ailementum.

Burgess, Helen. “Tasty Gougère.” Poetry generator in JavaScript. 2012. Shared on the Web.

Malloy, Judy. “Scholars Contemplate the Irish Beer.” Poetry generator in JavaScript. 2012. Shared on the Web.

Bonsall, Bob. “The Dark Side of the Wall.” Poetry generator in JavaScript with lyrics from Roger Waters, David Gilmour, and Bob Ezrin. 2012. Shared on the Web.

Rybak, Chuck. “Tacoma Grunge.” Poetry generator in JavaScript. 2012. Shared on the Web.

Whalen, Zach. “Pigeon Forge.” Poetry generator in JavaScript. 2012. Shared on the Web.

Flores, Leonardo. “TransmoGrify.” Poetry generator in JavaScript. 2013; in Springgun Press Journal issue 8.

McNamara, John Pat. “Take Ogre.” Poetry generator in JavaScript. 2013. Shared on the Web by Michael J. Maguire.

Burling, James T. “Wandering through Taroko Gorge.” Poetry generator in JavaScript with sound and user input. 2014. Shared on the Web.

Marecki, Piotr. “Wąwóz Taroko.” Polish translation of the poetry generator in JavaScript. 2014. Published on the Web.

Kazemi, Darius. “Hey Gorgeous.” Poetry generator in JavaScript. 2014. Shared on the Web.

Kalinovski, Roman. “54 61 72 6F 6B 6F.” Poetry generator in JavaScript. 2014. Shared on the Web.

Gaard, Anders Gonzo. “Take Gonzo.” Poetry generator in JavaScript. 2015. Shared on the Web and exhibited at ELO 2015 in Bergen, Norway.

“The Two,” Nick Montfort, 2008

Bouchardon, Serge. “Les deux.” French translation of the poetry generator, both Javascript and Python versions. 2010. Shared on the Web.

Carpenter, J. R. “Auto-Autobiography.” Output incorporated into the book GENERATION[S], J. R. Carpenter, Traumawien: 2010.

León, Carlos. “Los dos.” Spanish translation of the poetry generator, both Javascript and Python versions. 2011. Shared on the Web.

Fedorova, Natalia. “Двое” (“Dvoje”). Russian translation of the poetry generator, both Javascript and Python versions. 2011. Shared on the Web.

Carpenter, J. R. “TRANS.MISSION [A.DIALOGUE].” Poetry generator in JavaScript. 2011. Shared on the Web. Presented in Aesthetic Strategies as Critical Interventions, Vertaallab (TranslationLab), Performance Writing Weekend 2012, Network Archaeology, Electrifying Literature: Affordances and Constraints, A Global Visuage, Dramaturgy and the Digital, &Now Awards 2: The Best Innovative Writing; translated to French by Ariane Savoie in bleuOrange 7.

Campana, Andrew. “二人” (“Futari.”) Japanese translation of the poetry generator, both Javascript and Python versions. 2014. Shared on the Web.

Małecka, Aleksandra, and Piotr Marecki. “Duet.” Polish translation of the poetry generator, both Javascript and Python versions. 2014. Shared on the Web.

“Through the Park,” Nick Montfort, 2008

Carpenter, J. R. “The Chronicles of Pookie & JR.” Story generator in JavaScript. 2009. Shared on the Web; output incorporated into the book GENERATION[S], J. R. Carpenter, Traumawien: 2010.

Fedorova, Natalia. “Через парк.” Russian translation of the poetry generator, both Javascript and Python versions. 2012. Shared on the Web.

Małecka, Aleksandra. “Przez Park.” Polish translation of the poetry generator, both Javascript and Python versions. 2013. Shared on the Web.

“My Generation about Talking,” Nick Montfort, 2008

Inacio da Silva, Cicero. “Geração sobre a fala.” Brazilian Portuguese translation of the text generator in Python. 2010. Shared on the Web.

Ream, Nick Montfort, 2006

Bergeron, Anick. Rame. French translation/adaptation of the constrained 500-page/500-word poem. 2007. Printed; published on the Web in bleuOrange; presented at E-Poetry 2007.

Carpenter, Jim. “Ream Appropriations” [1–5]. 2006. Shared on the Web; presented at E-Poetry 2007.

Implementation, Nick Montfort and Scott Rettberg, 2004

Boglione, Riccardo. Implementation. Italian translation of installment 1 of the sticker novel. 2005.

“The Girl and the Wolf,” Nick Montfort, 2001

Eaglenest, Ruber. “La Muchacha y el Lobo.” Spanish translation of the hypertext variable tale. 2011. Shared on the Web.

Ad Verbum, Nick Montfort, 2000

Jarel, Venenarius Verborum, Spanish translation/adaptation of the interactive fiction. 2008. Shared on the Web.

Published Poems (Print & Printable)

“From 101 BASIC Poems: ‘You,’ ‘Excavator,’ ‘Autoplot,’ ‘Terrace Line’” in The Book of Penteract, Shropshire, England: Penteract Press, p. 44–49, March 2022.

“ppg256” in Conceptualisms: The Anthology of Prose, Poetry, Visual, Found, E- & Hybrid Writing as Contemporary Art, Tuscaloosa: University of Alabama Press, p. 505–506, February 2022.

“Little Lines of Random Numbers / Krótkie linijki losowych liczb” (trans. Katarzyna Bazarnik) in eleWator 34, p. 142–143, 2–4 2021.

“Fountain” in The Minute Review 2: 1, p. 6, June 2021.

“Three Commodore 64 Poems” in Notre Dame Review 48, pp. 153–160, Summer/Fall 2019.

Untitled [sau / aus / usa], Hansjörg Mayer 1965; Translations, Nick Montfort 2014–2019, in GANGAN Lit-Mag 2:29, October 2019. Published on the Web and in print.

“Lines of Force,” a type-in computational poem in sync. an ongoing artistic journal in digitally published zines 2:29, 2019. Published on the Web and printable.

“won’t you,” a type-in computational poem in Increment 9, 2019. In print and on the Web.

Three 17s (seventeen-word poems) in PageBoy X, 2019.

“Computational Poem with Found Sentence” and “The Ice Age” in Concrete and Constraint, Penteract Press, 2018.

“Uncomputable,” an ekphrastic poem based on Taeyoon Choi’s Analog, part of an exhibition at the School for Poetic Computation, New York City, June 2018.

“The Code that Generated The Truelist” in “US” Poets Foreign Poets, MARGENTO, Bucharest: frACTalia Press, 2018.

Leaflet of Eden containing the type-in program “Untitled [Eden].” Commissioned by Decoy Magazine, October 31, 2017. Print edition of 50 issued by Montfort’s Bad Quarto, 2018.

“Seven Poems of Seven Letters” in Supplement, a project of Jacket2, 2016.

“Letterformed Terrain” in &NOW Awards 2: The Best Innovative Writing. Editor, Davis Schneiderman, Northwestern University Press, 2013.

“Alphabet Expanding” in A Global Visuage. Editors, Jörg Piringer and Günter Vallaster, Edition Ch, 2012.

“Kitchen” in Out of Nothing #0 (inaugural print anthology), Spring 2012.

“Ten Mobile Texts: five stories, an aubade, an epic, a sestina, a lipogram, and a ballad for Short Message Service,” The New River, Fall 2008.

“Poem,” In Medias Res, Spring 2008.

“He did, eh?,” UpRightDown 1, February 2008.

“Toper/Schematorium,” “I Icing Sing,” and “Reflections,” CrossConnect 25, Feburary 2007 and XConnect: Writers of the Information Age 9, 2007.

“Limit,” “The Hunt,” “Who Fall,” “The Obliterator,” “The Established Ones,” and “Sight’s Pillar,” Curiobox 1, Spring 2006.

“Flings,” Quake 2, Spring 2006.

“Sheik of Poetry,” Speakeasy 2006.

“Tichborne’s Lexicon,” Horse Less Review 2, Spring 2005.

“The Exhaustion of Libraries,” Boston University Arts & Sciences 12, Spring 2003; recording on the CD Kelly Writers House: 1995/96–2005/06 The First 10 Years.

“Another Hole,” Passager 37, 2003.

“Riddles,” Cauldron and Net 4, Autumn 2002.

“The Unrelenting,” Crowd 2, Summer 2002.

“Soyuz,” Welter, 2002.

“Top Row Retort,” Newspoetry.com, 2000. Originally appeared in a different form as “Upper Typewriter Row,” Word Ways: The Journal of Recreational Linguistics 33:1, February 2000.

Readings

From Minims and Process Pages, Computational Writing Faculty Reading with Lillian-Yvonne Bertram, The Banff Centre, Banff, Canada, May 3, 2022.

From Golem, The Truelist, and #!, Estimate reading series, New York City, August 23, 2021.

From book-bound computer-generated poetry (mine & others’), Performing Algorithms, outside HERE Arts Center, New York City, August 19, 2021.

Launch of Exploratory Programming for the Arts and Humanities, second edition, with a conversation with Nikita Braguinski, online and sponsored by Babycastles, New York City, June 27, 2021.

From Golem with a presentation about the project, WordHack (online), Babycastles, March 18, 2021.

From Golem with a discussion of the project, Electronic Literature Organization Discord, March 5, 2021.

From Hard West Turn, 2018 and 2019 editions, Electronic Literature Organization Conference and Media Arts Festival, Performance Night, The Kino, Cork, Ireland, July 17, 2019.

From my others’ computational poems on LIVE at the Writers House, recorded live at the Kelly Writers House, University of Pennsylvania, January 28, 2019.

From The Truelist and Hard West Turn (2018), Using Electricity reading. Ranjit Bhatnagar, Milton Läufer, and Li Zilles also read. Babycastles, New York City, October 18, 2018.

From The Truelist and Hard West Turn (2018), Using Electricity reading. Ranjit Bhatnagar, Milton Läufer, and Li Zilles also read. MIT Press Bookstore, Cambridge, Massachusetts, October 17, 2018.

From The Truelist and Hard West Turn (2018), Using Electricity reading. Ranjit Bhatnagar and Li Zilles also read. Rhode Island School of Design, Old Library, Providence, October 16, 2018.

From The Truelist and Hard West Turn (2018), Using Electricity reading. Ranjit Bhatnagar, Milton Läufer, Dan Rockmore, and Li Zilles also read. McNally Jackson Williamsburg, October 15, 2018.

From The Truelist and Hard West Turn (2018), with Sophia Le Fraga and Aaron Winslow, Poetic Research Bureau, Los Angeles, July 21, 2018.

From The Truelist, Author Function event. John Cayley, Liza Daly, and Allison Parrish also read. Harvard Book Store, Cambridge, Massachusetts, March 5, 2018.

From The Truelist, launch event for the Using Electricity series. Rafael Pérez y Pérez and Allison Parrish also read. Babycastles, New York City, February 8, 2018.

From The Truelist, launch event for the Using Electricity series. Rafael Pérez y Pérez and Allison Parrish also read. MIT Press Bookstore, Cambridge, Massachusetts, February 7, 2018.

From The Truelist, launch event for the Using Electricity series. Rafael Pérez y Pérez and Allison Parrish also read. Brown University Literary Arts, Providence, February 6, 2018.

From The Truelist, launch event for the Using Electricity series. Rafael Pérez y Pérez and Allison Parrish also read. Kelly Writers House, University of Pennsylvania, Philadelphia, February 5, 2018.

From The Truelist, Electronic Literature Organization reading. Stephanie Strickland, Andrew Demirijian, Laura Zaylea, Alan Sondheim, Kyle Booten, and Bill Bly also read. Babycastles, New York, January 6, 2018.

From The Truelist, launch event for the Using Electricity series. Allison Parrish also read. Counterpath’s booth at the MLA Convention Book Exhibit, New York, January 6, 2018.

Presentation of and reading from The Future, launch event for the book hosted by George Fifield at the MIT Press Bookstore, Cambridge, 6 December 2017.

From the first draft of Hard West Turn, launch event for Mary Flanagan’s Ghost Sentence, KGB Bar’s Red Room, New York City, November 27, 2017.

Scripting the Other session with Annie Abrahams and collaborators, The Wrong - New Digital Art Biennale, November 1, 2017.

From digital poetry including Autopia and 2×6 with workshop participants, Aleksanda Małecka, and Piotr Marecki, Warsztat, Krakow, October 5, 2017.

“Gender and Computational Poetry,” a reading at the Women’s and Gender Studies (WGS) Intellectual Forum, MIT, September 27, 2017.

Featured reading of Sliders and of other poems at WordHack, Babycastles, New York, September 21, 2017.

Of computational poems, St. Rocco's series. Chris Funkhouser also read. Post Contemporary, Troy, New York, August 26, 2017.

From 2x6 with Serge Bouchardon & Aleksandra Małecka, ELO Festival, Mosteiro de São Bento da Vitória, Porto, Portugal, July 21, 2017.

From Over Sing, 384-byte VIC-20 poetry program for performance, premiered at @Party, Somerville, Massachusetts, June 11, 2017.

From Memory Slam, #!, 2x6, The Truelist and other work, Digital Wednesdays, Onassis Cultural Center, Athens, March 29, 2017.

“Digtial Lengua,” a bilingual reading with Milton Läufer and book launch for 2x6 and Autopia, Babycastles, New York, November 20, 2016.

“Computer-Generated Books: Readings and Reflections,” From #!, 2x6, Autopia, and The Truelist, International Digital Media Arts Association (iDMAa) conference, Winona State University, Winona, Minnesota. October 5–8, 2016.

One-minute reading with other authors at the exhibit for and launch of Convolution 4, Company Gallery, New York, September 10, 2016.

From #!, “The Two,” Commodore 64 work, and The Truelist, We Have Always Been Digital, The Kitchen, New York, September 10, 2016.

Of “Random Sentences” at the opening of Agnieszka Kurant’s exhibit Variables, T Space, Rhinebeck, New York, July 23, 2016.

Of “Autopia” and other work at “Écris-tu? Electronic Literature on Stage,” Ecomusee du Fier Monde, Montréal, April 29, 2016.

From “Abra Libre,” based on Abra by Amaranth Borsuk, Kate Durbin, and Ian Hatcher, at their reading at Printed Matter, New York City, 23 April 2016.

From #!, “The Two,” Memory Slam, and Commodore 64 work, and a public conversation with Manfred Mohr moderated by Matthew Fuller, Carroll/Fletcher Gallery, London, February 12, 2016.

From #! and related work, Graz, Austria, January 19, 2016.

From #!, “The Two,” and Commodore 64 work, Alte Schmiede, Vienna, January 12, 2016.

From #!, “The Two,” the Renderings Project and work in progress, Kelly Writers House, University of Pennsylvania, Philadelphia, October 19, 2015.

From #!, “The Two,” the Renderings Project and work in progress, Poetic Research Bureau, with Thomas Trudgeon, Los Angeles, August 22, 2015.

From #! and related projects, Counterpath reading with Michael Friedman, Sanaz Fatemi, and Graham Foust, Dikeou popup space, Denver, June 4, 2015.

From #!, Poor Claudia / Chateau LaSalle AWP Offsite, Minneapolis, April 9, 2015.

From #!, with Natalia Fedorova and Russian translations of some poems, Leningrad Center, Saint Petersburg, April 5, 2015.

From #! with Natalia Fedorova and Russian translations of some poems, Ground Gallery, Moscow, April 4, 2015.

Regular reader at the WordHack open mic at Babycastles, New York City, February 2015–. Visual digital poetry was shown there including PET Code and Una página de Babel, and readings were done of pieces including, on October 15, 2015, Random By.

Featured reading from #! (the ppg256 series) and other Beckett-based work, including a presentation of Nanowatt and From Megawatt, WordHack, Babycastles, New York City, January 15, 2015.

From #!, Monkeywrench Books, Austin, Texas, November 22, 2014.

From #!, the Twig Book Shop, San Antonio, Texas, November 21, 2014.

From #!, University of New Hampshire, Durham, New Hampshire, November 18, 2014.

From Memory Slam, recreations of historical code poetry and text generators, the first ITP Code Poetry Slam, New York University, New York City, November 14, 2014.

From #!, Rhode Island School of Design, Providence, November 11, 2014.

From #!, McCormack Family Theater, Brown University, Providence, November 10, 2014.

From #!, List Visual Arts Center, MIT, Cambridge, Massachusetts, October 22, 2014.

Polish/English reading of “From the Tables of My Memorie” and “Round” with Aleksandra Małecka; presentations of “Sea and Spar Between” and “Taroko Gorge” in Polish translation, Poetry Night Media Art Show, Café Szafé, Krakow, October 4, 2014.

Panel discussion with other artists at the ATNE Collision: More Human event, discussing and reading from “From the Tables of My Memorie,” Boston Cyberarts Gallery, September 24, 2014.

From #!, World Clock, and 10 PRINT, Harvard Book Store, Cambridge, Massachusetts, September 18, 2014.

Of “Round,” ELO 2014 Media Arts Show, Milwaukee, Wisconsin, June 19, 2014.

Of computational poems, The Art Barn, Salt Lake City, Utah, November 7, 2013, followed by a lunchtime conversation, November 8, 2013.

Ha!art author event with Polish translators. Czuły Barbarzyńca, Krakow, October 27, 2013.

Of “Sea and Spar Between,” with Stephanie Strickland, Emily Dickinson: World Citizen (EDIS 2013), University of Maryland, August 10, 2013.

From The Deletionist with Amaranth Borsuk, Kensington University, London, June 18, 2013.

From Riddle & Bind and other poems. Cambridge Public Library, April 16, 2013.

From Riddle & Bind, 2002, and other poems. SaveTFP Professor Talent Show, MIT, April 13, 2013.

From Ad Verbum and “Taroko Gorge,” Electronic Literature Showcase, Library of Congress, April 5, 2013.

Of computational and conceptual poems, “Out of Gender: A Denunciation of Vanessa Place's Boycott Project.” MIT, March 9, 2013.

From ppg256, Digital Writing session, AWP Conference, March 9, 2013.

Of recent poems, University of Washington Bothell, January 17, 2013.

From recent electronic literature with 10 PRINT livecoding, MLA Offsite Electronic Literature Reading, Bordy Theater, January 4, 2013.

From 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 with Patsy Baudoin and Noah Vawter. Harvard Book Store, Cambridge, Massachusetts, November 12, 2012.

From “Lede,” “Sea and Spar Between,” and 10 PRINT CHR$(205.5+RND(1)); : GOTO 10, read with collaborators at the MLA electronic literature offsite reading, Bordy Theater, Emerson College, Boston, January 4, 2012.

A transverse reading of the ppg256 series, Workshop on Curating and Exhibiting Electronic Literature, Galleri 3.14, Bergen, Norway, October 30, 2012.

A silent reading of “10 PRINT,” variations, and Concrete Perl. Part of Electronic Literature & the Nonhuman, a juried reading sponsored by the Electronic Literature Organization at the 26th Annual Meeting of the Society for Literature, Science, and the Arts (SLSA). Milwaukee, Wisconsin, September 29, 2012.

Of “ppg256–7” and “Sea and Spar Between” (read by Nick Montfort and J. R. Carpenter), with a screening of “Three Rails Live” by Roderick Coover, Nick Montfort, and Scott Rettberg. &Now, Université Paris Diderot, June 8, 2012.

Of “Sea and Spar Between” with Stephanie Strickland; “Taroko Gorge” and remixes read with Mark Sample and Flourish Klink, and a new work for LED message fan read in the Electronic Literature MLA Off-site Reading, Richard Hugo House, Seattle, January 7, 2012.

Of “Sea and Spar Between” with Stephanie Strickland, E-Poetry, The Squeaky Wheel, Buffalo, New York, May 17, 2011.

Of computational poetry, including ppg256 and, with Stephanie Strickland, “Sea and Spar Between,” Dartmouth College, April 15, 2011.

Riddle & Bind & Generators,” a reading at UC Santa Cruz, January 12, 2011.

From Riddle & Bind at Couscous, Tazza, Providence, Rhode Island, November 30, 2010.

From “Sea and Spar Between“ at the Brown/RISD Salon, Providence, Rhode Island, October 27, 2010.

“Constraint, Collaboration, Computation,” a reading at the University of North Dakota Writers Conference: Mind the Gap: Print, New Media, Art, Grand Forks, ND, March 25, 2010.

From Implementation and ppg256 at In(ter)ventions: Literary at the Edge, Banff, Canada, February 18, 2010.

“Five Uneasy Pieces,” a reading at Digital Arts and Culture 2009, UC Irvine, December 14, 2009.

From Implementation, Mystery House Taken Over, Book and Volume, and ppg256 at The Internet as Playground and Factory, The New School, New York City, November 13, 2009.

“Small Machines Making Words,” a reading at The Network as a Space & Medium for Interdisciplinary Art Practice, Bergen, Norway, November 9, 2009.

A reading for the Poetry Foundation’s Harriet Munroe Poetry Institute New Media Working Group, The Berkman Center for Internet and Society, Harvard University. April 15, 2009.

A reading on Global Frequency, WMBR 88.1 FM. Poems. Cambridge, Massachusetts. Broadcast live March 17, 2009.

A reading in the MIT Writers Series, Program in Writing and Humanistic Studies, Cambridge, Massachusetts, March 12, 2009.

Of Ream/Rame at the launch of bleuOrange with translator Anick Bergeron. Three other authors presented work. Oboro, Montréal, 20 March 2008.

Of poetry. Demolicious series. Mairead Byrne also read. Out of the Blue Gallery, Cambridge, Massachusetts, December 2, 2007.

Of Lost One, the Open Mic & Mouse, The Future of Electronic Literature Symposium, Electronic Literature Organization and Maryland Institute for Technology in the Humanities, University of Maryland, May 2, 2007.

Of poetry. Opening of Art & Science XXIII: Panoramas and Other Circular Stories. Deb Olin Unferth also read. Philadelphia, January 12, 2007.

From Adventure and Cloak of Darkness in a new IF system with varying narration read at E-Fest 2006, Brown University, Providence, Rhode Island, March 22, 2006.

From Implementation read at Provflux, The Steel Yard, Providence, Rhode Island, May 28, 2005.

From Mystery House Taken Over, Re:Writing, Boston Cyberarts Festival. John Cayley, Thalia Field, Yael Kanarek, and Noah Wardrip Fruin also read. April 25, 2005 at Brown University in Providence, Rhode Island, and April 26, 2005 at the Boston Public Library.

Penn Arts Day luncheon reading of “The Ballad of Alain Robert” and “The Exhaustion of Libraries,” Arthur Ross Gallery, March 17, 2005.

“Ubu meets Gertrude (Towards a Post-textual Avant-garde).” A public conversation with Johanna Drucker, Christian Bök, Jean-Michel Rabaté, Nick Montfort, and Scott Rettberg. Slought Foundation. Philadelphia, December 28, 2004.

A reading on William Gillespie’s Eclectic Seizure, BSR88.1 FM. “The Spectacle,” “The Ballad of Alain Robert,” and other poems. December 1, 2004.

From Book and Volume, Interactive Fiction Walkthroughs. Star Foster, Dan Ravipinto, and Emily Short also read from interactive fiction. Hosted by Scott Rettberg. Kelly Writers House, Philadelphia, October 27, 2004.

“Poetry Engines and Prosthetic Imaginations.” A public conversation with Bob Perelman, Nick Montfort, and Jean-Michel Rabaté. Slought Foundation, Philadelphia, April 29, 2004.

From 2002: A Palindrome Story, with William Gillespie, and Implementation, with Scott Rettberg, Joint Work. Kelly Writers House, Philadelphia, February 14, 2004.

On Live at the Writers House, WXPN 88.5 FM. “City,” “The Exhaustion of Libraries,” and other poems. Taped live November 17, 2003, broadcast November 20, 2003.

Regular reader at the Speakeasy open mic at the Kelly Writers House, Philadelphia, Fall 2002–Spring 2007. Among other poems and texts, Ream was read there April 26, 2006 and Dead Reckoning was read there September 1, 2003.

From Ad Verbum, Digital Intercourse. Scott Rettberg and Stephanie Strickland also read. Hosted by Scott Ambrose Reilly. The Remote Lounge, New York City, November 20, 2002.

On Eclectic Seizure, WEFT 90.1 FM. Poems, Winchester’s Nightmare, and 2002: A Palindrome Story, with William Gillespie. Urbana, Illinois. Broadcast live July 17, 2002.

ACM Hypertext reading at University of Maryland: 2002: A Palindrome Story. College Park, MD, June 14, 2002.

ELO Symposium reading at UCLA: Ad Verbum. Los Angeles, April 4, 2002.

From The Ed Report and Winchester’s Nightmare, Digital Intercourse. Shelley Jackson and Adam Cadre also read. Hosted by Scott Ambrose Reilly. The New School, New York City, November 19, 2001.

Winchester’s Nightmare read during Siggraph 2001. Los Angeles, August 15, 2001.

From “Villadom,” A Night at the Cybertexts, Digital Arts and Culture 2001. Eight other authors presented new electronic literature works. Providence, Rhode Island, April 27, 2001.

From The Ed Report with William Gillespie, Boston T1 Party. Nine other authors presented work. Boston Public Library, April 25, 2001.

From The Ed Report with William Gillespie, GiG 2.0. Center Portion, Chicago, December 9, 2000.

From Winchester’s Nightmare, eNarrative 1. Boston, November 11, 2000.

From The Ed Report, Reading on Bay State Road. Diane Greco and Scott Rettberg also read. Boston, November 10, 2000.

From The Ed Report with William Gillespie. Digital Arts and Culture 2000, University of Bergen, Bergen, Norway, August 3, 2000.

From The Ed Report with William Gillespie. Electronic Literature Organization reading. Nine other authors also read. Center for Advanced Technology/Media Research Lab, New York University, June 16, 2000.

From The Help File, Bartos Theater, MIT Media Lab, Cambridge, Massachusetts, 1999.

Exhibitions by Collectives

Water on the Pier, a two-channel video installation with sound and generated text by Roderick Coover, Adam Vidiksis, and Nick Montfort. Philadelphia Fringe Festival, Cherry Street Pier, September 16–23, 2021.

THE FLOODS, four-screen video installation with two live concerts, by Roderick Coover with music composed by Adam Vidiksis and generated texts by Nick Montfort. Philadelphia Fringe Festival, Crane Arts Icebox. Concerts, September 10 and September 11; Installation, September 9–12, 2021.

The Altering Shores, 360-degree/VR vignettes, by Roderick Coover with music composed by Adam Vidiksis and generated texts by Nick Montfort, University of Pennsylvania, November 16, 19, 21, and 23, 2019.

Programs at an Exhibition, an exhibit by collaborators Nick Montfort and Páll Thayer, Boston Cyberarts Gallery. Curated by George Fifeld. March 6–16, 2014.

Grand Text Auto, an exhibit by the blog collective Mary Flanagan, Michael Mateas, Scott Rettberg, Andrew Stern, and Noah Wardrip-Fruin. Krannert Art Museum, University of Illinois at Urbana-Champaign. Curated by Damon Loren Baker. April 14–July 26, 2009.

Grand Text Auto, an exhibit by the blog collective Mary Flanagan, Michael Mateas, Scott Rettberg, Andrew Stern, and Noah Wardrip-Fruin. UCI Beall Center for Art + Technology, Irvine, California. Curated by David Familian. October 4–December 15, 2007.

Artworks Under Review for Group Exhibitions

One of 25 artworks (names, works, and artists to be revealed later) submitted in 2021 in response to the first call for participation, Expo 2121 — Art in the Future, an exhibit scheduled for 2121.

Group Exhibitions

“It will happen here, in Barcelona (Tindrà lloc aquí, a Barcelona).” By Roderick Luis Coover, Adam Vidiksis, and Nick Montfort. In the ISEA 2022 main exhibition,Centre d’Art Santa Mònica, Barcelona, June 9–August 21 2022.

“BIG IDEA.” In The Unmoving, a noemata exhibit, online, November 2021—March 2022.

☯, an installation with copies of the booklet ☯ by Nick Montfort, and “The Bug,” a “scream saver” by Milton Läufer and Nick Montfort. In Piksel21 REBOOT ME SOFTLY, Bergen, Norway, November 18–21, 2021.

Book Post, an installation by Nick Montfort featuring the work of Lillian-Yvonne Bertram, Milton Läufer, Allison Parrish, and Montfort. In Posthuman, University of Bergen, March 4—March 31, 2021.

“Lines Up.” In Undocumented Events and Object Permanence (third edition), a noemata exhibit, online, June 2020—.

“Sonnet Corona.” In Immemory, online, December 16, 2020—.

Leaflet of Eden and Untitled [Eden], In Bcc: An International Group Exhibition, co-presented by Decoy Magazine (Vancouver) and Vivid Projects (Birmingham), Birmingham, U.K., September 6–28, 2019.

Autopia (Web manifestation). In the Web exhibit of the Vector Festival, Toronto, July 11–14, 2019.

2x6 (Web manifestation). In the PikselSavers program of TransPiksel: Lima, Peru, July 9–13; Santo Domingo, Dominican Republic, July 15-22; Mexico City, July 25–27; Querétaro, Mexico, July 31–August 3; 2019.

Hard West Turn (2018). In Ding / Unding. Die Entgrenzung des Künstler*innenbuchs, Graphische Sammlung ETH Zurich, February 13—April 14, 2019.

Autopia (installation with flat-panel display and book). In the ICIDS 2018 Art Exhbition, Trinity College, Dublin, December 5–8, 2018.

The Deletionist by Amaranth Borsuk, Jesper Juul, and Nick Montfort. In Under Erasure, curated by Heather and Rafael Rubinstein, Pierogi Gallery, New York City, November 28, 2018–January 27, 2019.

“Field.” In the #DAAROMLEESIK (#WHYIREAD) Festival Expo, De Kroos, Ghent, Belgium, November 23–24, 2018.

Hard West Turn (2018). Time Farm, Cambridge, Massachusetts, October 9–23, 2018.

Nanowatt, installation featuring a single-loading (3.5 KB) VIC-20 demoscene production by Nick Montfort, Michael C. Martin, and Patsy Baudoin as nom de nom, McMartin, and Baud 1, along with the 6502 assembly code, Megawatt and “ppg256-7” by Nick Montfort, Attention à la marche | Mind the Gap!, UQÀM Ecole de design, Montréal, August 13–17, 2018.

Autofolio Babel. History of the Future, Boston Cyberarts Gallery, May 26–July 1, 2018.

Texts from Babel. Err0r, arrhythmicity online VR gallery, May 15–June 15, 2018.

Blind Date. Store 2, Babycastles, New York City, November 10–24, 2017.

Computer-generated zine library by School for Poetic Computation students, including my “The Ancient Language Prepared for Beginners.” Fall 2017 SFPC show. November 10–12, 2017.

2x6 and Autopia (Web manifestations). PikselSavers program, Piksel17, Bergen, Norway, November 16–18, 2017.

Exquisite Corpses, Philippe Henri (trans. Nick Montfort & Ariane Savoie). In the exhibit of the First Workshop on the History of Expressive Systems (HEX 01), Funchal, Madeira, Portugal, November 14, 2017.

Re-Upstart (updated version of Upstart). In Becoming Posthuman, Cambridge, Massachusetts, Studio at 550, November 11, 2017.

Autopia (Web manifestation). In Litteratur I Livde Former, Roskilde Bibliotekerne, Roskilde, Denmark, October 4–November 13, 2017.

Una página de Babel and Taroko Gorge. In Translations - Translating, Transducing, Transcoding, curated by Ana Marques da Silva and Diogo Marques, Mosteiro de São Bento da Vitória, Porto, Portugal, July 18–22, 2017.

Waves 3 Ways (Topsy’s Revenge), In Ist das noch Zufall? Wahrnehmung und Komplexität, Medien, die wir meinen, Berlin, July 17–21, 2017.

After Jasper Johns, Autopia, (Web manifestation) Una página de Babel, and Shivers, In A Summer Proposal: Boston City Hall, curated by Paul Ha, The Scollay Square Gallery, Boston City Hall, July 10—August 18, 2017.

Autopia and 2x6, In Wordhack: Installed, curated by Todd Anderson, Babycastles, New York City, June 15—July 20, 2017.

Bytecrete 1a, In Grounded, Boston Cyberarts Gallery, Jamaica Plain, May 14–26, 2016.

Three Rails Live, Roderick Coover, Nick Montfort, Scott Rettberg, Piksel16 ZERO-level, Bergen, Norway, November 24–27, 2016.

Taroko Gorge, In No Legacy || Literatura Electrónica, Doe Library, UC Berkeley, March 11–September 2, 2016.

Taroko Gorge and remixes, Sea and Spar Between, and two translations. In Electronic Literature: A Matter of Bits, Stedman Gallery, Rutgers University-Camden, Camden, New Jersey, January 19–April 21, 2016.

Concrete Perl and ppg256. In the PikselSavers program of Piksel15 Get A-Life!, Bergen, Norway, November 19–21, 2015.

Winchester’s Nightmare (Hardback edition.) In American Gun Show, Works/San José, San José, California, October 3—November 15, 2015.

The Deletionist. In New Text, International Symposium on Electronic Art (ISEA) 2015, Vancouver, Canada, 14–August 18, 2015.

Running All Night. In Playdate: First Babycastles Residency Show, Babycastles, New York City, July 23–August 7, 2015.

“Через парк” (Russian translation of “Through the Park,” trans. Natalia Fedorova), In Цифровой поэт (Digital Poet), curated by Alexey Shulgin and Anna Tolkacheva, Electromuseum, Moscow, July 10–August 30, 2015.

Sea and Spar Between, In Language at the Interface, International Conference: Digital Literary Studies, University of Coimbra, May 14–15, 2015.

Zegar światowy (World Clock, trans. Piotr Marecki), In the ha!art exhibit at Salon du Livre, Paris, March 20–23, 2015.

“Voyelles for Christian Bök.” Exhibited as part of Interrupt 3, Granoff Center, Brown University, March 12–15, 2015.

From the Tables of My Memorie. In International Conference on Digital Storytelling Exhibition, ArtScience Museum, Marina Bay Sands, Singapore, November 2–5, 2014.

From the Tables of My Memorie. In More Human, Collision Collective 21, Boston Cyberarts Gallery, Jamaica Plain, Massachusetts, September 12–October 26 2014.

Sea and Spar Between. In Anthropoetry; Modern Expression of the Human Condition, Vancouver Community Library, curated by Dene Grigar, Vancouver, Washington, April 23–26, 2014.

“Alphabet Expanding.” In Räume für Notizen, Renate Pittroff, curated by Günter Vallaster and Jörg Piringer, wechselstrom Gallery, Vienna, 28 January-February 12, 2014.

500 pages from the Worl (generated by The Deletionist), In Printing Out the Internet, curated by Kenneth Goldsmith, LABOR, Mexico City, July 26—August 26, 2013.

The Deletionist by Nick Montfort, Amarath Borsuk, and Jesper Juul, In Words Unstable on the Table, curated by Maria Mencia, Watermans Art Center Riverside Gallery, London, June 9–26, 2013.

10 PRINT CHR$(205.5+RND(1)); : GOTO 10 and Taroko Gorge, In the MLA electronic literature exhibit, Hynes Convention Center, Boston, January 3–5, 2013.

Concrete Perl and ppg256. Computer Art Congress 3. Universite Paris 8, CiTu Paragraphe, Paris, November 26–28, 2012.

10 PRINT CHR$(205.5+RND(1)); : GOTO 10 (book and program). In Pulp to Pixels: Artists Books in the Digital Age. Hampshire College, Amherst, Massachusetts, November 7–16, 2012.

Text adventure maps. Big Reality, 319 Scholes, Brooklyn, March 15–29, 2012.

Poetry generators from the ppg256 series. In Language to Cover a Wall: Visual Poetry through its Changing Media, digital poetry component curated by Loss Pequeño Glazier, University at Buffalo, New York, November 17, 2011–February 18, 2012.

“ppg256–4” (LED sign manifestation). In Pulling Back the Curtain, Axiom Gallery for New and Experimental Media, Boston, August 17–September 27, 2009.

Book and Volume. medi@terra 7th International Art and Technology Festival: Gaming Realities, Athens, October 4–8 2006.

Currency, Roderick Coover and Nick Montfort. In Coover’s Art & Science XXIII: Panoramas and Other Circular Stories at the Ester M. Klein Gallery, Philadelphia, January 12–March 31 2007.

Implementation, Nick Montfort and Scott Rettberg. Provflux, CUBE2, Providence, May 27–June 4, 2005.

Implementation, Nick Montfort and Scott Rettberg. Storefront exhibit at the Slought Foundation, Philadelphia, January 1–31, 2005.

Implementation, Nick Montfort and Scott Rettberg. At FILE (Festival Internacional de Linguagem Eletrônica), São Paulo, Brazil, November 22–December 12, 2004.

Dead Reckoning, Andrés Viedma Peláez (trans. Nick Montfort), ALT+CTRL / A Festival of Independent and Alternative Games, UCI Beall Center for Art + Technology, Irvine, California, October 5–November 24, 2004.

2002: A Palindrome Story (Web manifestation). At FILE (Festival Internacional de Linguagem Eletrônica), São Paulo, Brazil, August 8–22, 2002.

Winchester’s Nightmare and The Help File. Digital Arts and Culture ’99 exhibition, Atlanta, Georgia, October 28, 1999.

Performances

Livecoding Commodore 64 visuals at the LiveCode.NYC “Cyberspace Sundaze” Algorave, Wonderville, Brooklyn, November 28, 2021.

Livecoding Commodore 64 and Apple II BASIC visuals and rapping with mgs as Doc Mofo at the LiveCode.NYC “Salon Rave” Algorave, Caffeine Underground, Brooklyn, October 15, 2021.

Livecoding Commodore 64 BASIC visuals and rapping with ColnelPanix as Doc Mofo at the LiveCode.NYC Algorave, Sunnyvale, Brooklyn, June 5, 2019.

Livecoding Commodore 64 BASIC visuals and rapping with ColonelPanix as Doc Mofo at the LiveCode.NYC/New York Live Arts Algorave, New York City, May 10, 2019.

Livecoding Commodore 64 BASIC visuals and rapping with ColonelPanix as Doc Mofo at the FMPV release party, Babycastles, New York City, February 23, 2019.

Livecoding Commodore 64 BASIC visuals as nom de nom, LiveCode.nyc Algorave, Sunnyvale, Brooklyn, December 10, 2018.

Livecoding Commodore 64 BASIC visuals as nom de nom, Babycastles X LiveCode.nyc Algorave Arcade, Performance Space New York (PSNY, formerly PS122), New York City, April 20, 2018.

Livecoding Commodore 64 BASIC visuals as nom de nom, Babycastles, New York City, January 19, 2018.

Livecoding Commodore 64 BASIC visuals at Beat Research, Firebrand Saints, Cambridge, Massachusetts, February 3, 2016.

Rapid serial visualization of text at Dance Technology and Circulations of the Social, MIT, Cambridge, Massachusetts, April 23, 2011.

Rapid serial visualization of text at Beat Research, Enormous Room, Cambridge, Massachusetts, January 24, 2011.

Screenings

The Altering Shores, four-screen video screening with live music performance, by Roderick Coover, music composed by Adam Vidiksis, generated texts by Nick Montfort. Harold Prince Theatre, Annenberg Center for the Performing Arts, University of Pennsylvania, November 23, 2019.

One-line programs from For Poets and After Artists along with 256B on the C64 for 8K, all for the Commodore 64. WordHack, Babycastles, August 16, 2019.

256B on the C64 for 8K, digital poem for the Commodore 64. Creativity & Cognition / Designing Interactive Systems, UC San Diego, June 25, 2019.

“Sizecoded Commodore 64 Concrete,” screening of code and output from four sets of short programs (After Artists, Hello Globe, assembly language programs, and For Poets), &NOW 2018 Festival of New Writing, University of Notre Dame, October 6, 2018.

Trois rails sous tension, Roderick Coover, Nick Montfort, and Scott Rettberg. Université Paul-Valéry, Site Saint-Charles, Montpellier, November 3, 2016.

Three Rails Live, Roderick Coover, Nick Montfort, and Scott Rettberg. Kelly Writers House, University of Pennsylvnia, Philadelphia, November 1, 2011.

Three Rails Live, Roderick Coover, Nick Montfort, and Scott Rettberg. McCormack Family Theater, Brown University, Providence, October 31, 2011.

Currency, Roderick Coover and Nick Montfort, Roger Williams University, Bristol, RI, March 2, 2010.

Fathoms, Roderick Coover and Nick Montfort, Landmark Café, Bergen Kunsthall, Bergen, Norway, November 8, 2009.

“JS” and “Filip a Guinea” from Currency, Roderick Coover and Nick Montfort. Festival Pocket Films, Paris, June 11–14, 2009.

“JS” from Currency, Roderick Coover and Nick Montfort. Cologne Off: Cologne Online Film Festival, 17–24 May 2009.

Currency, Roderick Coover and Nick Montfort. CMS Comparative Media Spectacle, MIT, April 28, 2008.

Currency, Roderick Coover and Nick Montfort. “Heavy Mental” program at the Philadelphia Film Festival, International House, April 9, 2007.

Exhibits Curated

Generative Unfoldings, an online art show of generative art, running live in the browser and available as free/libre/open-source software, with fourteen juried artworks commissioned by the MIT Center for Art, Science, and Technology. Online as of March 14, 2021; online opening, April 1, 2021.

Post Hoc, an online art show of digital images and responses by writers. Post Position blog. Posted May 18, 2020.

Taper 1, an exhibit at the Trope Tank, MIT, Cambridge, MA. Featuring the nine computational poems in the first issue of Taper. May 22, 2018.

Author Function, an exhibit at the Rotch Library, MIT, Cambridge, MA. Computer-generated literary art in print from the collection of Nick Montfort. January 25–March 21, 2018.

Curators, Clara Fernández-Vara and Nick Montfort. Gry: przypadki książkowe [Games by the Book] by Corporation Ha!art at Arteteka, Krakow, Poland. Coordinated by Kaja Puto, translation by Justin Zarudzk. October 2–16, 2014.

Media in Transition 8 Exhibit, MIT, May 3–5, 2013.

Curators, Clara Fernández-Vara and Nick Montfort. Games by the Book, Hayden Library, MIT, Cambridge, Massachusetts. September 7–October 8, 2012.

Codings, an exhibit at the Pace Digital Gallery, Pace University, New York. Catalog designed by Jia Zhang. February 28–March 30, 2012.

Composing: Harry Mathews’ Worlds and Words, Kamin Gallery, Van Pelt-Dietrich Library, University of Pennsylvania. April–August 2004.

Curators, Loss Pequeño Glazier, Nick Montfort and Noah Wardrip-Fruin. ELO State of the Arts Symposium Gallery. University of California, Los Angeles, April 2002.

Residencies

Poet in residence, Shandy Hall, Coxwald, England, October 12–October 19, 2019.

Babycastles residency, New York City, April 2015–August 2015.

Artistic Organizations

Society of Spoken Art, member 2019—present.

Electronic Literature Organization, member 2000—present.

Awards & Honors

Creative Capial Shortlist, Literature, 2022.

Higher Education Video Game Alliance Fellow, elected 2019.

The Future, 2018 Choice: Current Reviews for Academic Libraries Outstanding Academic Title, January 2019.

Autopia, honorable mention, Turn On Literature Prize, July 4, 2017.

“Through the Park” selected for Best American Experimental Writing 2015. Editors, Jesse Damiani, Seth Abramson, and Douglas Kearney, Wesleyan University Press, 2015.

“Duels — Duets” by Stephanie Strickland and Nick Montfort selected for &NOW Awards 3: The Best Innovative Writing. Editor, Megan Milks, Northwestern University Press, 2014.

“Letterformed Terrain” selected for &NOW Awards 2: The Best Innovative Writing. Editor, Davis Schneiderman, Northwestern University Press, 2013.

Currency, honorable mention in the experimental category, Comparative Media Spectacle, MIT, April 28, 2008.

Book and Volume, finalist, Slamdance Guerilla Gamemaker Competition 2007.

Mystery House Taken Over, selected as a commission by New Radio and Performing Arts, Inc., (aka Ether-Ore) to develop the site with collaborators for the Turbulence web site. Made possible with funding from the Andy Warhol Foundation for the Visual Arts, 2004.

“A Bad Machine Made of Words,” best review, 2004 New Media Article Writing Competition, trAce/Writers for the Future.

Twisty Little Passages, selection for the Book Sense 76, a list of notable books recommended by independent booksellers, January/February 2004.

Academy of American Poets Prize at Boston University, 2001.

First Prize, Blackmon Student Book Collecting Contest, Boston University, 2001.

Ad Verbum, Best Puzzles XYZZY Award, 2000.

Ad Verbum, 1st place selection of Competition authors, voted 4th place overall by players, 2000 Interactive Fiction Competition.

The Ed Report, honorable mention, 2000 trAce/Alt-X New Media Writing Competition, by William Gillespie and Nick Montfort.

Courses Taught

Massachusetts Institute of Technology, Cambridge

21W.750, Experimental Writing, Spring 2010, Spring 2011, Spring 2013, Spring 2014, Fall 2015, Fall 2016, Fall 2019, Fall 2021.

21W.765/21L.489/CMS.618/CMS.845, Interactive Narrative, Fall 2008, Fall 2009, Spring 2011 (co-taught with Zuzana Husárová), Fall 2012, Fall 2014, Spring 2016, Spring 2017, Fall 2017, Fall 2018, Fall 2029, Fall 2020, Fall 2021.

21W.764/CMS.609/CMS.844, The Word Made Digital, Spring 2008, Fall 2009, Spring 2012, Spring 2014, Spring 2016, Spring 2017, Spring 2018.

CMS.951, Comparative Media Studies Graduate Workshop II, Spring 2008 and Spring 2013.

CMS.790, Media Theory and Methods I, graduate course, Spring 2012 (co-taught with Ian Condry).

CMS.950, Comparative Media Studies Graduate Workshop I, Fall 2007, Fall 2008, and Fall 2011.

21W.784, Becoming Digital: Writing about Media Change, Fall 2011.

Guest speaker in subjects including Media Theory and Methods I (CMS.790), Becoming Digital (21W.784), Digital Poetry (21W.772), Introduction to Media Studies (CMS.100), Introduction to Digital Media (21W.732).

Talks to groups at MIT including “Ports, Platforms, and Arcades” at the Game Lab during MIT's Independent Activities Period, January 7, 2014; “10 PRINT CHR$(205.5+RND(1)); : GOTO 10,” Burchard Scholars, February 23, 2011; “Understanding Games from the Platform,” Singapore/MIT Gambit Game Lab, June 22, 2009; and “Curveship: Interactive Fiction + Interactive Narrating,” Hyperstudio, February 8, 2009.

Non-credit IAP classes including Beginning Exploratory Programming, January 7, 2015; Commodore 64 BASIC Workshop, January 29, 2014; Pleasures of Poetry sessions.

University of Bergen, Norway

Three-week unit in DIKULT 251, focused on platform studies and digital materiality, Spring 2022.

DIKULT 303, Digtial Aesthetics, a semester-long graduate seminar focused on generative art, Fall 2020.

Three-week unit in DIKULT 103, focused on digtial art, for this undergraduate course, Spring 2020.

Three-week unit in DIKULT 303, focused on material histories of text and digital media, for this graduate seminar, Spring 2020.

The Banff Centre for Arts & Creativity, Banff, Canada

Faculty/mentor, Computational Writing, two-week residency with fourteen participants, April–May 2022.

School for Poetic Computation, New York

Small Poetry Machines (three weekly sessions as part of the Code Poetry course), Fall 2017.

Code and Platform, Summer 2016.

Small Poetry Machines, Summer 2015.

The New School, New York

NMDS 5444, Exploratory Programming, semester-long undergraduate/graduate course, School of Media Studies, Spring 2015.

University of Pennsylvania, Philadelphia

CSE 240, Introduction to Computer Architecture, teaching assisstant, Fall 2006.

CSE 130, Programming Languages and Techniques I, taught sections, Fall 2003 and Fall 2005.

CSE 112, Networked Life, teaching assisstant, Spring 2004.

Introduction to programming course for pre-freshmen (co-taught with Jean Griffin), Summer 2003.

Guest speaker in Media Theory (English 295/Film 211), Introduction to Programming with Java (ESE 115), Game Design & Development (CIS 564/910), Experimental Writing Seminar: Uncreative Writing (English 111), Virtual World Design (CSE 377), Networked Life (CSE 112), and Explorations in Information Technology (CSE 101). Taught a one-meeting class on interactive fiction for entering first-year students.

SUNY-Empire State College, Manhattan

Computers for Construction, April–June and September–October 2002.

University of Baltimore

Hypermedia Production, two sections of the graduate course, Spring 2002.

Introduction to Programming, graduate course, Spring 2002.

Electronic Publishing, graduate course, Fall 2001.

Postdoc & Faculty Mentoring

Junior faculty mentor, Comparative Media Studies/Writing, July 2021–present.

Supervisor, Dr. Sofian Audry (Canada), Spring 2017–Fall 2019.

Supervisor, Dr. Piotr Marecki (Poland), Fulbright scholar, Fall 2013–Summer 2014.

Supervisor, Dr. Natalia Fedorova (Russia), Fulbright scholar, Fall 2011.

Supervisor, Dr. Zuzana Husárová (Slovakia), Fulbright scholar, Spring 2011.

Junior faculty mentor, Writing and Humanistic Studies, May 2010–June 2013.

Mellon postdoc mentor, Dr. Amaranth Borsuk, Writing and Humanistic Studies, May 2010–September 2011.

Thesis Supervising

Ph.D. advisor, Pierre Depaz, Université Sorbonne Nouvelle - Paris 3, co-supervision with Prof. Alexandre Gefen, in progress.

Ph.D. committee, Biyi Wen, Intermedia Arts, Writing, and Performance, University of Colorado Boulder, in progress.

Ph.D. committee, Andrew Campana, East Asian Languages and Civilizations, Harvard, May 2018.

Ph.D. preliminary examiner, Markku Reunanen, "Times of Change in the Demoscene: A Creative Community and Its Relationship with Technology," University of Turku, Finland, February 2017.

Ph.D. committee, Langxuan Yin, “The Construction and Evaluation of a Design Framework for Narrative Games for Health,” Computer and Information Science, Northeastern, June 2015.

Ph.D. committee, Matthew Fay, “Driving Story Generation with Learnable Character Models,” Computer Science, CSAIL, MIT, August 2014.

Ph.D. committee, Jeff Orkin, “Collective Artificial Intelligence: Simulated Role-Playing from Crowdsourced Data,” Media Arts and Sciences, MIT, May 2013.

Ph.D. committee, Angela Chang, “TinkRBooks: Tinkerable Story Elements for Emergent Literacy,” Media Arts and Sciences, Media Lab, MIT, September 2011.

Ph.D. committee, Steven Hodges, “The Digital Absurd,” Digital Media, Georgia Tech, March 2010.

Ph.D. committee, Clara Fernández-Vara, “The Tribulations of Adventure Games: Integrating Story into Simulation through Performance,” Digital Media, Georgia Tech, November 2009.

Ph.D. committee, Jichen Zhu, “Intentionality and the Artificial Intelligence (AI) Hermeneutic Network: Expressive Intentional System Theory and Design,” Digital Media, Georgia Tech, June 2009.

Ph.D. exam committee, Andrew Campana, East Asian Languages and Civilizations, Harvard, February 2014.

Ph.D. exam committee, Roy Shilkrot, Media Arts and Sciences, Media Lab, MIT, April 2013.

Ph.D. exam committee, Jeff Orkin, Media Arts and Sciences, Media Lab, MIT, September 2009.

M.A. supervisor, Marcelo David Cajas Manangon, “How do people appraise to what extent TikTok videos are informative?,” Digital Culture, University of Bergen, June 2021.

S.M. advisor, Judy Heflin, “AI-Generated Literature and the Vectorized Word,” Comparative Meda Studies, MIT, May 2020.

S.M. advisor, James Bowie Wilson, “Roguelife: Digital Death in Videogames and Its Design Consequences,” Comparative Media Studies, MIT, June 2019.

S.M. advisor, Ayse Gursoy, “Game Worlds: A Study of Video Game Criticism,” Comparative Media Studies, MIT, September 2013.

S.M. advisor, Michael Danziger, “Information Visualization for the People,” Comparative Media Studies, MIT, August 2008.

S.M. committee, Po-Hao Chi, “Synchronizing Glitches as Internetworked Entities,” Art, Culture, and Technology, MIT, May 2018.

S.M. committee, Pedro Cardoso Zylbersztajn, “Negotiating With the || && !: Reading Codes and Their Symbolic Structures of Control,” Art, Culture, and Technology, MIT, May 2018.

S.M. committee, Yusef Audeh, “System Images,” Art, Culture, and Technology, MIT, May 2017.

S.M. committee, Lilia Kliburn, “Answering Machine, Auto-Tune, Spectrograph: Queer Vocality Through Sonic Technology,” Comparative Media Studies, MIT, September 2016.

S.M. committee, Amar Boghani, “The City Expressed: Everyday Media Production and the Urban Environment,” Comparative Media Studies, MIT, May 2013.

S.M. committee, Anne Callahan, “Other Means of Communication,” Art, Culture, and Technology MIT, May 2013.

S.M. committee, Colleen Kaman, “The World in the Network: The Interop Trade Show, Carl Malamud’s Internet 1996 Exposition, and the Politics of Internet Commercialization,” Comparative Media Studies, MIT, May 2010.

S.M. committee, Madeleine Clare Elish, “The Evolution of Intimacy: Constructing the Personal Computer as an Object for the Home,” Comparative Media Studies, MIT, May 2010.

S.M. committee, Peggy Chi, “Raconteur: Intelligent Assistance for Conversational Storytelling with Media Libraries”, Media Arts and Sciences, Media Lab, MIT, September 2010.

S.M. committee, Moinuddin Ahmad, “MOOIDE: Natural Language Interface for Programming MOO Environments,” Media Arts and Sciences, Media Lab, MIT, September 2008.

S.M. committee, Luis Blackaller, “Performing Process: The Artist Studio as Interactive Art,” Media Arts and Sciences, Media Lab, MIT, September 2008.

S.M. committee, Brett Camper, “Homebrew and the Social Construction of Gaming: Community, Creativity and Legal Context of Amateur Game Boy Advance Development,” Comparative Media Studies, MIT, September 2005.

S.B. advisor, Brianna Veenstra, “Escape the Tomb,” 21W (Writing), MIT, February 2015.

S.B. advisor, Alvin Mwijuka, “Slim Tones,” 21W (Writing), MIT, May 2013.

S.B. advisor, Christine Yu, “Seeking Plastic,” 21W (Writing), MIT, May 2012.

Undergraduate independent study advisor, Sebastian Bartlett, Course 6 (Electrical Engineering and Computer Science), MIT, Spring 2018, Fall 2018.

Undergraduate Advanced Project advisor, Monica Gallegos, Course 6 (Electrical Engineering and Computer Science), MIT, Spring 2011.

Lead organizer (as nom de nom, with a team of eight), Synchrony 2020, a demoparty, Babycastles, New York — Amtrak train 69 — and Spotify, Montréal, January 17–18, 2020.

Local host, Narrascope 2019: Celebrating Narrative Games, MIT, June 14–16, 2019.

Lead organizer (as nom de nom, with a team of seven), Synchrony 2019, a demoparty, Babycastles, New York — Amtrak train 69 — and Spotify, Montréal, January 11–12, 2019.

Lead organizer (as nom de nom, with a team of four), Synchrony 2018, a demoparty, Babycastles, New York — Amtrak train 69 — and Spotify, Montréal, January 19–20, 2018.

Co-organizer (with Michel DeGraff), Concert by BIC, Haitian singer/songwriter/poet, MIT, September 19, 2017.

Organizer, Salon 256, a Trope Tank event for sharing creative programs of 256 bytes or less, MIT, May 1, 2017.

Organizer, with Ed Barrett, Poetry across Borders, a reading of poetry from non-US cultures in English and the original languages, for the MIT Day of Engagement / Day of Action, MIT, April 18, 2017.

Lead organizer (as nom de nom, with a team of six), Synchrony 2017, a demoparty, Babycastles, New York — Amtrak train 69 — and Spotify, Montréal, January 27–28, 2017.

Lead organizer (as nom de nom, with a team of eight), Synchrony 2016, a demoparty, Babycastles, New York, January 8–10, 2016.

Host, The People’s Republic of Interactive Fiction (Boston-area IF Group), May 2009–present.

Organizer, Processing Time: A Code Jam, judged by Casey Reas and Ben Fry, part of the Boston Cyberarts Festival, hosted by the Center for Advanced Visual Studies, MIT, May 2, 2009.

Organizer, Purple Blurb digital writing series, MIT, September 2007–present.

Organizer, MACHINE electronic literature reading series, Kelly Writers House, University of Pennsylvania, January 2004–December 2006.

Organizer, AUTOSTART: A Festival of Digital Literature. Kelly Writers House, University of Pennsylvania, Philadelphia, October 26 & 27 2006.

Organizer, Digital Intercourse reading. Produced by Wiresight at the New School, November 19, 2001. Three authors read from interactive works as a host interacted with them.

Organizer, Reading on Bay State Road, Boston, November 10, 2000. Three authors read from digital writing.

Organizer, A Night at the Cybertexts reading. Digital Arts and Culture 2001, Brown University, April 27, 2001. Nine authors presented new electronic literature works.

Co-organizer (with Scott Rettberg), The Boston T1 Party reading. Eleven readers presented their work. Boston Public Library, Electronic Literature Organization & Boston Cyberarts Festival, April 25, 2001.

Host, IFNYC. A reading and discussion group meeting monthly, New York, November 1999–June 2000.

Service to My Academic Institution

MIT Creative Arts Council, February 2011–December 2014 and Spring 2019—present.

MIT Center for Advanced Virtuality Faculty Advisory Committee, Spring 2019–present.

Undergraduate academic officer / undergraduate director, Fall 2021–Spring 2024.

SHASS Mellon Postdoc selection committee and CMS/W Mellon Postdoc nomination committee, March 2022–April 2022.

Major advisor, writing major, MIT, Fall 2012–Fall 2014, Spring 2016–present. Transfer credit examiner, CMS and writing, spring 2023. Concentration advisor, writing concentration, Spring 2011 and Fall 2008.

MIT Committee on the Library System, July 2011–December 2013, July 2021–June 2024.

Faculty host, CAST Visiting Artist Lupe Fiasco, October 2021. Included hosting the Code Cypher event, a creative coding competition with nine teams of MIT students, produced by CAST and with Lupe Fiasco, on October 9.

MIT Schwarzman College of Computing Faculty Appointments Working Group, Spring 2019.

School of Architecture and Planning Transmedia Storytelling Initiative Planning Group, Spring 2019–present.

MIT Press editorial board, February 2013–June 2025.

School of Humanities, Arts, and Social Sciences Digital Humanities Lab Advisory Committee, Spring 2018–present. Chair, Spring 2021–present.

Interim undergraduate academic officer, Spring 2019.

Comparative Media Studies / Writing senior lecturer appointment committee, Fall 2018.

Co-host (with Michel DeGraff) of Haitian poet/singer/songwriter B.I.C.(Roosevelt Saillant) at MIT for a concert and electronic literature project, September 2017.

Search committee, tenured position, Art, Culture, and Technology section, School of Architecture & Planning, Fall 2016–Spring 2017.

Search committee, assistant professor position, Art, Culture, and Technology section, School of Architecture & Planning, Fall 2016–Spring 2017.

Chair, Comparative Media Studies / Writing full professor promotion committee, Spring 2016–Fall 2016.

Comparative Media Studies / Writing search committee, associate director of Writing Across the Curriculum position, Spring 2013.

Comparative Media Studies / Writing search committee, Writing Across the Curriculum lecturer positions, Spring 2013.

Comparative Media Studies graduate admissions committee, Spring 2013.

Director (organizing group member), Media in Transition 8, Public Media, Private Media, MIT, 3–5 May 2013.

Comparative Media Studies / Writing Mellon Postdoc nomination committee, January 2013–February 2013.

Chair, Comparative Media Studies / Writing senior lecturer promotion committee, Spring 2013.

Comparative Media Studies / Writing tenure committee, Fall 2012–Spring 2013.

Comparative Media Studies / Writing curriculum committee, Fall 2012–Spring 2013.

MIT Subcommittee on the Communications Requirement representing CMS/WHS, September 2012–December 2012.

Chair, MIT Writing Council, Fall 2012–Spring 2013.

Comparative Media Studies graduate admissions committee, Spring 2012.

Writing and Humanistic Studies Mellon postdoc nomination committee, January 2012–February 2012.

Comparative Media Studies search committee, assistant professor position, Fall 2011.

Chair, Writing and Humanistic Studies science writer search committee, assistant professor position, Fall 2011.

Director (organizing group member), Media in Transition 7, Unstable Platforms: The Promise and Peril of Transition, MIT, May 13–15, 2011.

MIT Council for Educational Technology, September 2011–December 2014.

Comparative Media Studies graduate admissions committee, Spring 2011.

Writing and Humanistic Studies Mellon Postdoc nomination committee, January 2011–February 2011.

Comparative Media Studies faculty search committee, Fall 2010–Spring 2011.

MIT panelist at the Hyperstudio Humanities + Digital Visual Interpretations conference, responding to Johanna Drucker, May 20, 2010, and on the closing panel, May 22, 2010.

Burchard faculty fellow, MIT School of Humanities, Arts, and Social Sciences, September 2009–April 2010.

Writing and Humanistic Studies promotion committee, Spring 2010.

Comparative Media Studies tendured faculty search committee, Fall 2009–Spring 2010.

Writing and Humanistic Studies major revision committee, September–December 2007.

Other Academic, Literary & Artistic Service

Book reviewing for academic presses including Cambridge University Press, University of Massachusetts Press, University of Minnesota Press, MIT Press, Routledge, and Yale University Press. 2005–present.

Editorial board membership and journal reviewing, including: Editorial Board, Media-N, May 2020–present; Editorial Board, ROMChip: A Journal of Game Histories, July 2019–present; English editorial board, Dichtung Digital, December 2012–December 2014; Editorial board, Amodern, April 2011–present; Game Studies: The International Journal of Computer Game Research, 2001–present.

Conference reviewing for 20+ conferences, including: ISEA, Barcelona, 2022; Electronic Literature Organization, Montreal, 2018; Electronic Literature Organization, Porto, Portugal, 2017; Computer Art Congress 5, Paris, 2016; Electronic Literature Organization Conference, Bergen, Norway, 2015; ACM Creativity & Cognition, Sydney, 2013; International Conference on Computational Creativity (ICCC-13), Sydney, 2013.; ACM Creativity & Cognition, Atlanta, 2011; Intelligent Narrative Technologies III Workshop, Monterey, California, 2010; Foundations of Digital Games, Disney Wonder cruise ship, 2009; AAAI 2009 Spring Symposium on Intelligent Narrative Technologies 2, Stanford University, 2009; 5th International Joint Workshop on Computational Creativity, Madrid, 2008; AAAI-2004, San Jose, California, 2004; Digital Arts and Culture, Melbourne, 2003; ACM Hypertext, College Park, Maryland, 2002; Digital Arts and Culture, Providence, 2001.

Urban Griot Project Advisory Circle, August 2021–present.

General assembly, Association for Computational Creativity, July 2017—present.

Steering committee, Association for Computational Creativity, April 2011–June 2017.

Reviewing a proposed academic program at a US Research 1 university, Spring 2016.

Publicity chair, International Conference on Computational Creativity (ICCC-11), Mexico City, April 27–29, 2011.

Founder, Grue Street: An Interactive Fiction Writers’ Group, Cambridge, Massachusetts, May 16, 2010.

Steering committee, HASTAC (Humanities, Arts, Science, and Technology Advanced Collaboratory) June 2008–June 2011.

Committee, Networked: a (networked_book) about (networked_art), a project funded by the National Endowment for the Arts and published July 2009.

Hub (volunteer planning committee) member, Kelly Writers House, University of Pennsylvania, October 2003–August 2007.

Technology committee, PAD (Preservation, Archiving, and Dissemination) project, Electronic Literature Organization, August 2002–June 2004.

Organizing committee, Penn Engineering Graduate Research Symposium, December 2003–February 2004.