Nick Montfort develops computational art and poetry, often collaboratively, and studies creative computing of all sorts. He is professor of digital media at MIT and teaches at times at New York City’s School for Poetic Computation. He lives in New York and Boston with his spouse, Flourish Klink.
Montfort earned a Ph.D. in computer and information science from the University of Pennsylvania, a Masters in creative writing (poetry) from Boston University, a Masters in media arts and sciences from MIT, and undergraduate degrees in liberal arts and computer science from the University of Texas.
Projects of Montfort’s include several very small-scale poetry generators such as the ones in the ppg256 series and Concrete Perl; the group blog Grand Text Auto; Ream, a 500-page poem written in one day; Mystery House Taken Over, a collaborative “occupation” of a classic game; Implementation, a co-written novel on stickers documented in a book; the interactive fictions Winchester’s Nightmare, Ad Verbum, and Book and Volume; and several other work of digital poetry and art, including the collaborations Sea and Spar Between (with Stephanie Strickland) and The Deletionist (with Amaranth Borsuk and Jesper Juul).
Montfort works in several different contexts, which include the Web, book publication, and the literary reading but also the demoscene (e.g., the collaboration Nanowatt, shown at Récursion in Montréal, and several very small Commodore 64 intros) and gallery exhibition (e.g, the Boston exhibit Programs at an Exhibition with Páll Thayer). He translates computational projects; his own work has been translated into half a dozen languages. For instance, his free-software computer-generated novel World Clock was translated to Polish and published in ha!art’s Liberatura series, which also includes the Polish translation of Finnegans Wake. Many of Montfort’s works have also been modified and transformed by others to become the basis for new work; his short generator Taroko Gorge has been the basis for dozens of published remixes in addition to projects in many classes.
Montfort has presented, done readings, had screenings, or exhibited his work beyond the United States in Australia, Austria, Brazil, Canada, Finland, France, Germany, Greece, Mexico, Norway, Poland, Portugal, Russia, Singapore, Slovakia, Spain, Taiwan, and the United Kingdom.
With Ian Bogost, Montfort initiated the platform studies approach and the MIT Press book series corresponding to it. His contributions to critical code studies include organizing and co-authoring the main book using the methods of this field. In electronic literature, he wrote the first book focusing on a single form of e-lit, has extensively created, edited, and written about work of this sort, and served on the board of directors of the Electronic Literature Organization for more than ten years. He currrently edits the Using Electricity series of computer-generated books for Counterpath. Montfort founded and directs The Trope Tank, a DIY research lab/studio, based at MIT and in New York, that undertakes scholarly and aesthetic projects and offers material computing resources.
10 PRINT CHR$(205.5+RND(1)); : GOTO 10, (MIT Press, 2013), a 10-author single-voice publication that Montfort organized, focuses on a one-line Commodore 64 BASIC program. He wrote Riddle & Bind (Spineless Books, 2010), a book of literary riddles and constrained poems. With Ian Bogost, he wrote Racing the Beam: The Atari Video Computer System (MIT Press, 2009). He wrote Twisty Little Passages: An Approach to Interactive Fiction (MIT Press, 2003), and, with William Gillespie, 2002: A Palindrome Story (Spineless Books, 2002), which the Oulipo acknowledged as the world’s longest literary palindrome. He also edited The Electronic Literature Collection Volume 1 (with N. Katherine Hayles, Stephanie Strickland, and Scott Rettberg, ELO, 2006) and The New Media Reader (with Noah Wardrip-Fruin, MIT Press, 2003). Montfort’s Exploratory Programming for the Arts and Humanities (MIT Press, 2016) continues his long-term efforts to teach programming as a method of culturally engaged inquiry and creativity. His book The Future was published as part of the MIT Press Essential Knowledge series at the end of 2017.
Montfort's recent projects include several computer-generated books that are published in print, in many cases offset printed in a print run from traditional publishers. #! (Counterpath, 2014; the title is pronounced “shebang”) contains programs and poems. 2×6 (Les Figues, 2016), is book of computer-generated poems done in collaboration with six others, in English and five other languages. He has three computer-generated print-on-demand titles, the latest of which is Autopia (Troll Thread, 2016), and a print-on-demand book of tiny poems, Sliders (Bad Quarto, 2017). At the end of 2017 Counterpath published The Truelist, a computer-generated long poem produced by a single page of Python code without use of any libraries or external data. Montfort’s studio recording of the entire book-length poem is also freely available on PennSound.
—NM, December 2017
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Nick Montfort's computer-generated books of poetry include #!, the collaboration 2×6, Autopia, and The Truelist, the first in the new Using Electricity series from Counterpath. Among his more than fifty digital projects are the collaborations The Deletionist, Sea and Spar Between, and Renderings. His digital artwork was shown this summer at Babycastles in New York and in Boston City Hall. He has six books out from the MIT Press, most recently The Future (in the Essential Knowledge series). He is professor of digital media at MIT and lives in New York and Boston.
Nick Montfort studies creative computing and develops computational art and poetry. His computer-generated books of poetry include #!, the collaboration 2×6, Autopia, and The Truelist. Among his more than fifty digital projects are The Deletionist and Sea and Spar Between, both collaborations. His MIT Press books, collaborative and individual, are: The New Media Reader, Twisty Little Passages, Racing the Beam, 10 PRINT CHR$(205.5+RND(1)); : GOTO 10, and Exploratory Programming for the Arts and Humanities, and The Future. He is professor of digital media at MIT and lives in New York and Boston.