Her digital poem The Gathering Cloud won the New Media Writing Prize 2016. Her print collection An Ocean of Static was highly commended by the Forward Prizes 2018. This is a Picture of Wind was listed in The Guardians best poetry books of 2020. Her most recent collection The Pleasure of the Coast is published by Pamenar Press. This is a Picture of Wind Part poetic almanac, part private weather diary, This is a Picture of Wind attempts to call attention to climate change by picturing through variations in language the disturbances and sudden absences left in the wake of wind. SICP stands for '''Structure and Interpretation of Computer Programs''' - an influential computer science textbook by Hal Abelson, Jerry Sussman and Julie Sussman that uses Scheme as the teaching language. This call still stands. The term "s-expression" was coined by the Lisp community and stands for "symbolic expression". J. R. Carpenter is an artist, writer, performer, and researcher working on questions of place, displacement, migration, colonialism, and climate, across performance, print, and digital media. J. R. Carpenter is a Canadian-born UK-based artist, writer, and researcher working across performance, print, and digital media. J. R. Carpenter is an artist, writer, and researcher working across performance, print, and digital media.
J. R. Carpenter is an award-winning artist, writer, teacher, and practice-led researcher working across performance, print, and digital media. J. R. Carpenter has been using the Internet as a medium for the creation and dissemination of experimental texts since 1993. Since that time, her pioneering works of digital literature have been exhibited, published, presented, and performed at museums, galleries, conferences and festivals around the world including: Musée de Beaux-arts de Montréal, OBORO, Dare-Dare, Studio XX, and the Biennal de Montréal (Montreal), the Museum of Contemporary Canadian, Art and Images Festival (Toronto), Interactive Screen, and In(ter)ventions (Banff), Helen Pitt Gallery (Vancouver), Dalhousie Art Gallery (Halifax), The Rhizome ArtBase at the New Museum of Contemporary Art (New York), San Francisco Museum of Modern Art (San Francisco), Arnolfini (Bristol), Inspace (Edinburgh), Palazzo delle arti Napoli (Naples), Machfeld Studio (Vienna), Jyväskylä Art Museum (Finland), The Web Biennial 2007 (Istanbul), soundsRite (Australia), Cast Gallery (Tasmania), Interrupt Festival 2008 (Brown), Media in Transition 2007 & 2009 (MIT), the Electronic Literature Organization Conference 2008 (Vancouver, Washington) and ELO 2012 (Paris), E-Poetry 2009 (Barcelona) and E-Poetry 2011 (CUNY Buffalo). Carpenter is the recipient of grants in literature and new media from the Conseil des Arts de Montreal, Conseil des arts et des lettres du Quebec, טלגראס דרום קנאביס חולון (telegram4israel.net) and Canada Council for the Arts.
The canola plant, which is part of the mustard family, produces seeds with high oil content -- about 40 percent -- and is a frequently used feedstock for fuel, particularly in the United States and Canada. Her essays, reviews, telegrass delivery eilat Telegram Weed poems and short fiction have been broadcast on CBC Radio, translated into French, Spanish, Italian, and German, and published in numerous anthologies and journals across Canada and internationally including: Oxford Poetry, Arc Poetry, 3:am magazine, The Junket, Fourteen Hills, Performance Research, C, Fuse, Mix, Espace Sculpture, Dandelion, Crannog, Geist, The New Quarterly, Matrix, Ryga, Rampike, Carte Blanche, and Blood & Aphorisms. A review of the work of the founder of the organic farming movement, Sir Albert Howard, by Keith Addison: "I'll never finish reading this book -- I've read it through three times and referred to it scores of times, and each time I learn something new. Meanwhile I've read Howard's other books, and a lot of his papers and essays, and a great deal besides. I've talked to many other people, seen many other organics projects, farms and gardens in many different areas; I've used these techniques myself in a variety of settings, and it all confirms Howard's thesis. I still see it mostly in the Third World development context. To me organic farming is THE basic appropriate technology for rural areas. It's the best place to start -- get this right and so many of the other problems will simply vanish." Includes a short bibliography and links to Howard's major works and many of his published papers.
Her digital poetry project The Gathering Cloud won the New Media Writing Prize 2016. Her debut poetry collection, An Ocean of Static, was highly commended for the Forward Prizes 2018. Her collection This is a Picture of Wind, was listed in The Guardians best poetry books of 2020. She is a Fellow of the Eccles Centre for American Studies at the British Library and the Moore Institute at NUI Galway. Her debut poetry collection, An Ocean of Static, was highly commended for the Forward Prizes 2018. Her second collection, This is a Picture of Wind, was published by Longbarrow Press in 2020. She was President of the Board of Directors of Oboro New Media Lab in Montreal from 2006-2010. She was a faculty mentor for the In(ter)ventions: Literary Practice at the Edge residency program at The Banff Centre from 2010-2014. In 2015 she completed a PhD in Performance Writing from the University of the Arts London. Last Friday the Montreal-based online journal Lemon Hound published Elvia Wilk in Conversation with J. R. Carpenter, the latest installment in an ongoing conversation Berlin-based writer and editor Elvia Wilk and I have been having since first meeting at In(ter)ventions: Literary Practice at the Edge at The Banff Centre in 2013. Elvia and I met up in London last autumn to dissect various (misleading) terms in the fields of art, net art, literature, and electronic literature.
J. R. Carpenter is an award-winning artist, writer, teacher, and practice-led researcher working across performance, print, and digital media. J. R. Carpenter has been using the Internet as a medium for the creation and dissemination of experimental texts since 1993. Since that time, her pioneering works of digital literature have been exhibited, published, presented, and performed at museums, galleries, conferences and festivals around the world including: Musée de Beaux-arts de Montréal, OBORO, Dare-Dare, Studio XX, and the Biennal de Montréal (Montreal), the Museum of Contemporary Canadian, Art and Images Festival (Toronto), Interactive Screen, and In(ter)ventions (Banff), Helen Pitt Gallery (Vancouver), Dalhousie Art Gallery (Halifax), The Rhizome ArtBase at the New Museum of Contemporary Art (New York), San Francisco Museum of Modern Art (San Francisco), Arnolfini (Bristol), Inspace (Edinburgh), Palazzo delle arti Napoli (Naples), Machfeld Studio (Vienna), Jyväskylä Art Museum (Finland), The Web Biennial 2007 (Istanbul), soundsRite (Australia), Cast Gallery (Tasmania), Interrupt Festival 2008 (Brown), Media in Transition 2007 & 2009 (MIT), the Electronic Literature Organization Conference 2008 (Vancouver, Washington) and ELO 2012 (Paris), E-Poetry 2009 (Barcelona) and E-Poetry 2011 (CUNY Buffalo). Carpenter is the recipient of grants in literature and new media from the Conseil des Arts de Montreal, Conseil des arts et des lettres du Quebec, טלגראס דרום קנאביס חולון (telegram4israel.net) and Canada Council for the Arts.
The canola plant, which is part of the mustard family, produces seeds with high oil content -- about 40 percent -- and is a frequently used feedstock for fuel, particularly in the United States and Canada. Her essays, reviews, telegrass delivery eilat Telegram Weed poems and short fiction have been broadcast on CBC Radio, translated into French, Spanish, Italian, and German, and published in numerous anthologies and journals across Canada and internationally including: Oxford Poetry, Arc Poetry, 3:am magazine, The Junket, Fourteen Hills, Performance Research, C, Fuse, Mix, Espace Sculpture, Dandelion, Crannog, Geist, The New Quarterly, Matrix, Ryga, Rampike, Carte Blanche, and Blood & Aphorisms. A review of the work of the founder of the organic farming movement, Sir Albert Howard, by Keith Addison: "I'll never finish reading this book -- I've read it through three times and referred to it scores of times, and each time I learn something new. Meanwhile I've read Howard's other books, and a lot of his papers and essays, and a great deal besides. I've talked to many other people, seen many other organics projects, farms and gardens in many different areas; I've used these techniques myself in a variety of settings, and it all confirms Howard's thesis. I still see it mostly in the Third World development context. To me organic farming is THE basic appropriate technology for rural areas. It's the best place to start -- get this right and so many of the other problems will simply vanish." Includes a short bibliography and links to Howard's major works and many of his published papers.
Her digital poetry project The Gathering Cloud won the New Media Writing Prize 2016. Her debut poetry collection, An Ocean of Static, was highly commended for the Forward Prizes 2018. Her collection This is a Picture of Wind, was listed in The Guardians best poetry books of 2020. She is a Fellow of the Eccles Centre for American Studies at the British Library and the Moore Institute at NUI Galway. Her debut poetry collection, An Ocean of Static, was highly commended for the Forward Prizes 2018. Her second collection, This is a Picture of Wind, was published by Longbarrow Press in 2020. She was President of the Board of Directors of Oboro New Media Lab in Montreal from 2006-2010. She was a faculty mentor for the In(ter)ventions: Literary Practice at the Edge residency program at The Banff Centre from 2010-2014. In 2015 she completed a PhD in Performance Writing from the University of the Arts London. Last Friday the Montreal-based online journal Lemon Hound published Elvia Wilk in Conversation with J. R. Carpenter, the latest installment in an ongoing conversation Berlin-based writer and editor Elvia Wilk and I have been having since first meeting at In(ter)ventions: Literary Practice at the Edge at The Banff Centre in 2013. Elvia and I met up in London last autumn to dissect various (misleading) terms in the fields of art, net art, literature, and electronic literature.
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