‘If the forest wanders…’ 2016. Interactive sciart architectural projection mapping onto the under-side of a train bridge.

‘Cartology Apology’, 2016. Holographic installation.

climeart.com website, 2015, including 5 new interactive screen-based works/apps commissioned by 350.org for the Paris Climate Summit.

‘Treemails’, 2015, (Treemails: Bulimba). Interactive website and community art project.

‘Shadows blister those who try to touch’, 2015. Interactive projection mapping onto sculpture. See also ‘Shadow Blisters’ non interactive non-mapped version, 2016.

‘Over-Mine’, 2015. Interactive projection mapped installation.

‘Fracktals’, 2015. Interactive screen-based new media artwork.

‘All your old devices miss you’, 2015. Projection mapped narrative installation.

‘Epicentre/Paracentre’, 2015, solo exhibition.

‘Wind blisters those who try to run’, 2015, architectural projection mapping onto a windmill.

‘Un[tram]melled’, 2015. Interactive architectural projection mapping onto tram machinery.

‘Colonise’, 2015. 360/double sided projection mapping onto hanging 3D sculpture.

‘Entropic Texts’, 2015. Interactive screen-based digital poetry/new media art co-authored with Jason Nelson.

‘There is no There-There’, 2015. Interactive screen-based digital poetry/new media art.

‘if-notNow, if-then-when-else’, 2015. Interactive screen-based digital poetry/new media art.

‘Flying Fox Falls’ and ‘Infinite Extinction’. Digital art prints.

‘The Roaring Borealis’, 2015. Projection mapping onto sculpture.

‘Depo’d’, 2015. Projection mapping onto sculpture for commercial venue.

‘An Argument in Parallel Incompleteness’, 2014. Interactive app digital poetry/new media art. See also ‘canvas controlled’ installation version, 2015.

‘to arrive by chance’, 2014. Interactive screen-based digital poetry/new media art.

‘Little Boxes’, 2014. Projection mapping onto origami sculpture.

‘Geonotation’, 2014. Interactive sound art intallation/new media art.

‘You Are Vital’, 2014. Projection mapping onto origami sculpture.

Camberland, 2014. Interactive screen-based digital poetry co-authored with Jason Nelson.

Old experiments…

A.K. Krauth

BA Hons Class 1 (A1)


  • March 2013 – SAE Institute. Audio department open program.
  • June 2012 and July 2013 – ESRI training (through Griffith University staff and researchers program) in ArcGIS.
  • 2010 – Bachelor of Arts Honours Class 1 (with Dean of Arts Scholarship) Griffith University. Honours GPA 7.0. (Australian grading system)
  • 2006 –Bachelor of Arts, Griffith University

Completed with triple major:

Digital and Creative Writing double major;

Postmodern Cultural Geography/ Cultural Studies third major;

  • 2008 – Radio Metro – News School and Broadcasting School.
  • Trinity College London Speech and Drama Academy, grades 3 to 8, with Distinction.
  • 2002 – NIDA (National Institute of Dramatic Art) screen acting open program.




  • 2017, ‘Under-Mine’ SciArt installation for 6 interactive screens, Art Laboratory Berlin. Curator: Regine Rapp. (forthcoming)
  • 2016-17, ‘Treemails: Scenic Rim’ interactive website/app plus dusk projection mapping events ‘Bio-luminous Walking’ held in national parks with the help of RADF grant. These are independent events, but two to be held on Tamborine Mountain as part of The Five Senses Judith Wright festival. (forthcoming)
  • 2016, ‘The Secret Lives of Library Books’ (working title), Interactive installation touring Gold Coast Libraries as part of City Libraries digital artist residency. (forthcoming)
  • 2016, ‘If the Forest Wanders’ interactive architectural projection mapping of the underside of a train bridge. In association with World Science Festival 2016 and Brisbane City Council.
  • 2016, ‘Cartology Apology’ holographic projection installation for White Night Melbourne. Curator: Andrew Walsh.
  • 2016 and beyond, two artworks featured on Helensvale Library and City Council permanent public projection display: ‘Shadow Blisters’ and ‘To live with the world, not merely on it’. Contact/Curator: Salvador Cantellano.
  • 2016, ‘Shadows blister those who try to touch’ documentation feature in Distinguishable from Magic exhibition, SciArt in America, East Broadway, NY. Curator: Julia Buntaine.
  • 2016, ‘Redshift, Blueshift’ pop-up SciArt projection installation and ‘Shadow Blisters’ separate video art projection in exhibition. Metro Arts & 2High Festival of Art, Science & Ideas. Curator: Jade Ellis.
  • 2015, ‘if-notNow, if-then-when-else’ interactive art/poetry html5 exhibited for FONLAD Digital Arts Festival and Web Art Centre. 21st Nov – 31st Curator: Jose Vieira.
  • 2015, ‘To live with the world, not merely on it’ video art pop-up projection as a response to the Paris Climate Summit, funded by org. 28th Nov – 4th Dec.
  • 2015, ‘Climeart’, climeart.com – 6 interactive artworks/downloadable apps, in response to the Paris Climate Summit, focusing on Exxon Corp. Funded by 350.org.
  • 2015, ‘Landwhales’ (short fiction) published in Petrichor: Visible Ink 27, RMIT Press, Melbourne. Editor: Jane Sprague.
  • 2015, ‘Treemails: Bulimba’ interactive community-based netart and writing project Bulimba Festival, 9th-15th Curator: Debra Hood. www.treemails.net
  • 2015, ‘An Argument in Parallel Incompleteness’ interactive art/poetry game. Sunshine Coast Art Prize finalist’s exhibition. 10th Oct- 1st Nov, Maroochy Arts & Ecology Centre.
  • 2015, ‘An Argument in Parallel Incompleteness’, University of the Sunshine Coast Gallery. 6th Oct- 8th Curator: Dawn Oelrich.
  • 2015, featured artist in ‘Local Now’ exhibition, Ipswich Regional Art Gallery. ‘Over-Mine’ (interactive projection mapping onto sculpture, about mining), ‘An Argument in Parallel Incompleteness’ and ‘Fracktals’ (interactive screen-based work about fracking) – two new works shown. 18th Sept – 27th Curator: Michael Beckmann.
  • 2015, ‘Shadows blister those who try to touch’, ACM Multimedia Interactive Arts exhibition, Brisbane Convention Centre, 26th – 30th
  • 2015, ‘if-notNow, if-then-when-else’ exhibited at DRHA2015 (Digital Research in the Humanities and Arts) conference, Dublin, Ireland. 1st-3rd Curator: Christopher Pressler.
  • 2015, ‘Entropic Texts’, interactive art/poetry work New Texts exhibition, ISEA2015, Vancouver, Canada. Curator: Dene Griger. Collaboration with Jason Nelson.
  • 2015, ‘An Argument in Parallel Incompleteness’ live show at Queensland Poetry Festival. 28th – 30th Curator: Anne-Marie Te Whui & David Stravanger.
  • 2015, ‘Poetesthesia’ video art in shipping container at Maroochy Music and Visual Arts Festival, 22nd
  • 2015, ‘if-notNow, if-then-when-else’ exhibited in The Ends of Electronic Literature Electronic Literature Organisation, Bergen, Sweden. August 4-28th. Curator: Scott Rhettberg.
  • 2015, ‘Virality Vitality ytilatiV ytilariV’, interactive glitch poetry artwork in <O>PEN literary collection, curated by Queensland Poetry Festival and Pascalle Burton.
  • 2015, ‘All Your Old Devices Miss You’ projection mapping onto sculpture at Gertrude Street Projection Festival, Melbourne. July 10-19th. Curator: Kym Ortenburg. Plus ‘Poetesthesia’ video artwork displayed in GSPF Artbox Truck.
  • 2015, ‘if-notNow, if-then-when-else’ in The New Unconscious exhibition, SciArt in America, East Broadway, New York. Curator: Danielle Kalamaras.
  • 2015, ‘An Argument in Parallel Incompleteness’ interactive art/poetry game, CURRENTS New Media Festival, Santa Fe, USA. June 12-28th. Curator: Frank Ragano & Marianna Arnster.
  • 2015, ‘Un[tram]melled’, interactive projection mapping commission for Brisbane’s Powerhouse, 27th May-28th Curator: Alex Winters.
  • 2015, ‘Epicentre; Paracentre’ solo exhibition in rural Australia, Larkin Art Gallery. 1st – 31st Curator: Clinton Barker/Bronwyn Davis.
  • 2015, ‘Wind blisters those who try to run’, projection mapping Brisbane’s Old Windmill, in conjunction with UR{BNE} Festival. April 16-19th. As part of the UN’s International Year of Light.
  • 2015 ‘An Argument in Parallel Incompleteness’ featured in Deskins, Sally (ed.), Les femmes Folles Women in Art Anthology: The Women of 2014.
  • 2015, ‘Colonise’ projection mapping onto sculpture for White Night Melbourne. Curator: Andrew Walsh.
  • 2015, ‘Depo’d’, commercial commission projection mapping and sculpture piece for The Depo, West End.
  • 2015, ‘Flying Fox Falls’ (series of 4 digital paintings) and ‘Infinite Extinction’ (series of 2) shown in exhibition In Their Hands – art for and about sustainability at the Carindale Sustainability Centre. Curator: Genevieve Robey.
  • 2015-2016, ‘to arrive by chance’ interactive HTML5 artwork/poetry touring in 2015 one year long Queensland Regional Arts Awards Touring Exhibition. Curator: Dr Lisa Chandler.
  • 2015-2016, ‘to arrive by chance, sound art version’ in Di_Stanze one year long travelling Community Festival of Sound Arts, Sicily, Italy.
  • 2015, ‘An Argument in Parallel Incompleteness’ interactive art/poetry game, The Old Museum, Jan 10th, Brisbane. Curator: Johnny Legobye.
  • 2015, ‘The Roaring Borealis’ projection mapping/sculpture for 2high Festival, 9th to 11th Jan, Brisbane. Curator: Jamie Behrendorff.
  • 2015, ‘if-notNow, if-then-when-else’ interactive art/poetry html5, 05 Languages exhibition, Gallery T and Pixelinn, Paris, France. Curator: Nikolas Koroloff.
  • 2014, ‘Red Sequins’ (short fiction) in One Page: Brisbane, vol 1, Issue 8.
  • 2014, ‘Sine Wave Roofs’ (sound art) in Haze Netlabel Sound Interpretations: Reykjavik, Issue Haze315.
  • 2014, ‘to arrive by chance’ interactive HTML5 artwork/poetry in Cordite Journal, Issue 49. Editor: Kent McCarter.
  • 2014, ‘The Roaring Borealis’ projection mapping/sculpture at The Depo, Australia.
  • 2014, ‘Wasp’s Nest’ (sound art) in Huellkurven issue 3. Editors: Thomas Halvlik, Jorg Piringer, Jorg Zemmler.
  • 2014, ‘Mining the Limestone’ (photograph), displayed at 14th International ACTS Conference, Hobart, 5-7 November 2014. (ACTS – Australasian Campuses Towards Sustainability).
  • 2014, ‘Little Boxes’ projection mapping/sculpture in LUXLUMIN projection festival, 26-28 September, supported by La Luna Youth Arts, Townsville. Curator: Michelle Hall.
  • 2014, ‘to arrive by chance’ exhibited in Un-Natural Nature exhibition, SciArt in America, East Broadway, New York. Curator: Julia Buntaine.
  • 2014, ‘An Argument in Parallel Incompleteness’ art game exhibited in GAME ON #GO423 Games exhibition and symposium, supported by Brisbane International Game Developers Association, Brisbane. Curator: Lubi Thomas.
  • 2014, ‘to arrive by chance’ interactive HTML5 artwork/poetry shown in foyer of 45th Poetry International, Rotterdam. 10th-14th June. Curator: Jan Baeke.
  • 2014 ‘Camberlands’ in The New River: A journal of digital writing and art, Virginia Tech University, USA. Collaboration with Jason Nelson.
  • 2014, ‘You are Vital’ projection mapping/sculpture exhibited for Scenic Rim Cultural Trails in conjunction with ‘Live at the Centre’. 3rd-4th May.
  • 2014, ‘Geonotation’ generative/glitch interactive sound artwork and installation exhibited for Scenic Rim Cultural Trails as above.
  • 2014, ‘How to hold on’ (poem) in Monster and the Monstrous Journal, 3(2), ISSN: 1756-770X.
  • 2014, ‘Sweetest tongue has sharpest tooth’ (short fiction), in Monster and the Monstrous Journal, 3(2), ISSN: 1756-770X.
  • 2014 ‘Rabbit’ (photograph), in Monsters and the Monstrous Journal, 3(2), ISSN: 1756-770X.
  • 2013, ‘Train to Victoria’ in Lip Magazine. (Memoir/short story)
  • 2013, ‘A Beginner’s Guide to Gettin’ Techy’ editorial for Gold Coast Tech Space website.
  • 2013, photographic contributor to ‘The Post Hole’ archaeology journal website.
  • 2013, contributor to ‘Circular Poetry’, part of the Queensland Poetry festival, http://letterboxingqpf.wordpress.com/2013/08/04/circular-poetry-contributor-alinta-krauth/.
  • 2013, ‘Balloon – Festschrift’, in Tincture Journal, 1(3): e-pub. (Short fiction)
  • 2010, ‘Uncolours’ extract read at The Fringe Festival, Brisbane. (Short fiction)
  • 2007, ‘Balloon – Festschrift’ reading at the Gold Coast Arts Centre for the Josephine Ulrick awards.
  • ‘Girl Anon’. Digital artwork/photography displayed at the Gold Coast Arts Centre throughout 2006 and 2007 for Art’s Café Public Art Prize. Assessed by curator.
  • 2006, ‘Red Sequins’ reading at the Brisbane Writer’s Festival, Writers on the Make. (Short story)
  • 2005, ‘I am a Grass Spirit’, in ArtLook, 9: 30. Assessed by editor. (Poem)
  • 2005, ‘Summer’, an extract from novella “Uncolours”, in Unreal Estate, 6: 46.
  • 2004, ‘She knows’, in Unreal Estate, 5:30. Assessed by editor. (Poem)
  • 2004, ‘Rusty boat, in Unreal Estate, 5:31. Assessed by editor. (Poem)


  • 2017: launch of The Journal of Hybrid Interactivity. An academic journal platform where all articles are either interactive html5 or downloadable apps available publicly on Android and IOS app stores, edited by Alinta Krauth. (forthcoming).
  • Krauth, A. 2016, ‘Walking Unexpectedly’ interactive online audio/visual/literature. Hybrid interactive essay, Unlikely Journal, Is. 2. Peer-reviewed. Editor: Brogan Bunt. (forthcoming)
  • Krauth, A. 2015, ‘Using Handmade Controllers for Interactive Projection Mapping’, Proceedings of the ACM MM, Brisbane. DOI: http://dx.doi.org/10.1145/2733373.2808104. Artist’s talk also given.
  • Krauth, A. 2015, ‘Show and Tell: Apps and experiments’ talk and showcase of my work, as part of the Digital Writer’s Festival, Australia, 18th February.
  • Krauth, A. 2014, ‘Instructions as Art: Digital Writers as Modern Day Renaissance People’ article for Cordite Journal online.
  • Guest Speaker, 2014, QLD Institute of TAFE, Gold Coast Campus.
  • External peer-reviewer, 2013 TO PRESENT, Writing from Below Journal, La Trobe University, Victoria – as creative writing and art external examiner.
  • Krauth, A. 2013, ‘Gravitational Synaesthesia in the Skrill-crowd’. Presented at POPCAANZ Conference 2013.
  • Krauth, A. 2012, ‘Anonymous in Portmanteaupia’, in Social Alternatives: Politics and ethics in social media, 31(2): 27-32. Now used in reading lists for Georgetown University’s Security Studies program among others, and cited by other articles.


  • 2015: Receiver of RADF grant to expand ‘Treemails’ online new media art project across the rural area of the Scenic Rim throughout 2016, and create and host several projection mapping events in national parks in 2016 and 2017, illuminating the biology of the rural area.
  • 2015: ‘Beaded Gecko award’. 19th Annual Gecko Environmental Awards 2015 for contributions as a volunteer to the Gold Coast environment.
  • 2015: Finalist for Sunshine Coast Art Prize, New Media Art category for ‘An Argument in Parallel Incompleteness’.
  • 2014: ‘Leaf Tailed Gecko’ award. 18th Annual Gecko Environmental Awards 2014 for contributions as a volunteer to the Gold Coast environment.
  • 2014: ‘Mining the Limestone’ photograph, finalist in 2014 ACTS Photography competition (Australia wide). Piece displayed at 14th International ACTS Conference, Hobart, 5-7 November 2014.
  • 2014: Shortlisted (1 of 2) for University of Queensland SciArt residency.
  • 2009: Dean of Arts Honours Scholarship ‘for outstanding performance within your studies’.
  • 2007: The Griffith University Excellence Award for Academic Achievement.
  • 2007: ‘Balloon – Festschrift’. Winner of the Josephine Ulrick Photography writing competition.
  • 2006: The Griffith University Excellence Award for Academic Achievement.
  • 2006: Became a member of Golden Key International Honour Society through GU.
  • 2005: The Griffith University Excellence Award for Academic Achievement.
  • 2005: Dean’s Commendation award.
  • 2004: The Griffith University Excellence Award for Academic Achievement.


  • For reasons of length, publicity section has moved online. Please to go www.alintakrauth.com/publicity for all recent publicity regarding my artwork and writing from 2014 to present.


Feb 2016-June 2016. Artist in Residence – City Libraries, Gold Coast

  • Creating and running workshops on digital art, gaming, physical computing, and digital literature. Plus the creation of a public artwork for the city.

Nov 2014-June 2015. Artist in Residence – The Edge, Queensland State Library

  • Creating a commissioned artwork for Brisbane’s Powerhouse.

Jan 2015-May 2015. Artist in Residence – Larkin Art Gallery

Nov 2013-May 2014. Artist in Residence – Sarabah Vineyard

  1. Sessional Lecturer – Griffith University
  • Lecturer, tutor, and content/course materials creator/writer for third year class ‘New Media Art’ and second year class ‘Digital Writing’.
  1. Digital Talent – Regional Arts Australia
  • Digital talent for ‘Digital Drop-in’ Q & A sessions, inviting artists and arts workers to seek help with issues of digital literacy.

Sept 2010 TO PRESENT. Academic Adjunct/Instructor – Griffith University

  • Online teaching core first year class ‘New Communications Technologies’.
  • Online combined second and third year class ‘Art and Media in the Electronic Age’.
  • Writing second and third year course materials and study guides.
  • Creating and compiling reading lists, study documents, and writing assessment items.

August 2013 – February 2016. Mammal surveyor – Wildlife Queensland

  • A project over several years involving surveying the glider community of the Scenic Rim, in conjunction with Wildlife QLD Scenic Rim branch, the Wildlife Preservation Society of QLD, and Griffith University Biology department.

November 2013 – September 2015. Social Media Manager, GECKO, Gold Coast and Hinterland Environment Council

  • Social media manager and digital adviser for the Gold Coast’s largest environmental organisation.

August 2013 – February 2015. Arts writer, Art & Science Journal

  • Researching and critiquing science-related artworks for the website and blog of international (Canadian based) academic journal, Art & Science Journal.

Sept 2010 – Sept 2011. Sessional Tutor – Bond University

  • Teaching fellow for class ‘Digital Media and Society’ for Professor Jeffrey Brand.
  • Teaching fellow for class ‘Communication Skills’ for Dr Krista Mathis.

Research assistant roles:

  • 2013-present External peer-reviewer for Writing from Below Journal, La Trobe University, Victoria – as creative writing and art external reviewer.
  • 2013 – Research assistant to Dr Jason Nelson (Digital Writing), Griffith University.
  • 2012 – Research assistant to Dr Elizabeth Burrows (Journalism, Politics and Technology), Griffith University.
  • 2007 – Technical assistant to Professor Andy Bennett (Music), Griffith University.


  • August 2013. Field research, Aboriginal rock art survey, Chillagoe

Part of research team headed by Professor Paul Taçon of PERAHU (Place, Evolution and Rock Art Heritage Unit) to survey rock art in the Limestone Belt, Chillagoe, far North Queensland.

  • June 2013. Theta Lab research project, ISEA2013 with the help of dLux MediaArts and Sydney Harbour Foreshore Authority ‘Rocks PopUp’

Lab operator (Bluetooth EEG machines and MAX MSP software counterparts) and interviewer for Theta Lab, headed by artist George Khut.

  • Feb 2010-Nov 2011. Animal Welfare league
  • March 2011-March 2012. Conservation Volunteers Australia
  • Sept 2011-2014 (during Summer months). Tamborine Mountain Biodiversity Org.
  • April 2008-Nov 2011. On Air News Reader and Album Reviewer – 105.7 Radio Metro


“The audience’s response to this work was overwhelming; people stopped, sat, and even lay down to experience the sense of wonder created by the animation. With the complexity both of this works technical execution and the environmental message obscured, Krauth explored the use of projection, interaction and animation to physically connect the audience to the works elements. Krauth’s art practice continues to provide a subtle but significant reminder of the importance of science and technology and the key role it has to play in conservation.”

If the forest wanders, 2016 offers a moment of digital connection, reminding us of the fragility and beauty of the natural world and the encroachment of urbanization into numerous habitats.”

“Alinta Krauth is perhaps one of the most important women to come out of Art and Queensland at the moment, because of the way her art explores and conveys scientific data through digital installations, prose, sounds and music, but also because of this, her role as a woman in the ‘tech’ industry.

Her complex digital installations feature interactive sculptures, often combining visual and aural effects with digital poetry in public spaces. She is an expert at creating an environment that engages the senses to trigger physiological responses from viewers, sometimes inviting them to interact with a control box she has created herself. Her work transverses digital fields on and offline, whether it is by using code to create interactive maps of real geographical areas, encouraging people to explore their environment by sending messages to neighbourhood trees, or by taking real data, animating it and overlaying audio to provoke thought and discussion.

Her combination of art and technology is by definition pioneering as each work needs to be site-specific. She has grown accustomed to the challenges and restrictions that come with installations in an array of venues using her talents to prove time and time again, that being a woman does not impede her ability to create art within a technical industry…”

“You had to dig a bit deeper to find hidden gems such as… Cartology Apology at the Scots’ Church – a trippy, layered piece of animation constructed from topographical maps of Melbourne and surrounds.”

“At the end of my exhibition visit, three favourite pieces remain with me[:] A work titled to arrive by chance by Alinta Krauth captures me instantly. It is a code-based artwork, blending computer science and poetry.”

“Wind Blisters Those Who Try to Run animates the solid and inanimate qualities of the windmill with a historically rich-yet-jaunty projection. The work mixes a variety of different styles as it is performative, interactive and contemporary, yet draws from historical cues. The potential for audience interaction is one of the standout features for me, as Krauth remained onsite during the performance to manually change between scenes. This allowed her to manipulate the artwork by adjusting the pace according to crowd levels. [I’m] Intrigued by her ability to breathe new life into existing structures through new media technologies…”

“Krauth’s work, Wind blisters those who try to run, can be seen as a catalyst for conversations around history and also as a generator of new meanings… A visitor to the U.R{BNE} Festival described Krauth’s projection as, “an x-ray of history which analysed deep Queensland bones and health”… Artists such as Krauth and her interactive, digital and video art contemporaries are working at the intersection of technology, art, culture and public participation to create new narratives for city spaces.”

“White Night challenges houses of worship to reveal their brighter side but Alinta Krauth’s “light painting’’ and pendulous sculpture at Scots’ Church was a mesmerising mix of bright and dark. The artist illuminated sections of the building from the inside out, looking to shine a light on native nocturnal animals.”

“Krauth is interested in the ways digital technologies such as projection mapping can be more than mere spectacle…”

“While projection mapping is sometimes a generic spectacle, there are artists who transcend the genre. Alinta Krauth’s work Little Boxes, a combination of projection mapping and visual art, is a hypnotizing world of exploding color and light, where animation beams from origami sculpture as if by magic, and kaleidoscopic patterns shift between shapes as if on little origami television screens…  She has transformed the use of a projector and software to become truly a fine art… In the end, we reach a rare nirvana, the space between technical prowess, true ingenuity, artistic wonderment, wrapped in a most urgent call for us to rethink our relationships with the creations around us.”

Alinta Krauth feature article tamborine times

Alinta Krauth Ipswich Art Gallery

Alinta Krauth Ipswich Art Gallery

IMG_20140607_094323-1 10815424_10152592115599195_90816353_o

Please note, this is a list of print writings. I also do many interactive digital literature pieces, but I have housed these under ‘published artworks’. This section is for traditional writing styles. Legend: Poetry. Short Story. Non-fiction/essay. I am the solo author on these works.


+ 2015. ‘Landwhales’ published in Petrichor: Visible Ink 27, RMIT Press, Melbourne. Editor: Jane Sprague. (Short Story)

+ 2014. ‘How to hold on’ in Monster and the Monstrous Journal, 3(2), ISSN: 1756-770X. (Poetry)

                simultaneously published: 2014 ‘The Owsla found Hazel’, (digital photograph by author) in Monsters and the Monstrous Journal, 3(2), ISSN: 1756-770X.

+ 2014. ‘Instructions as Art: Digital writers as modern-day renaissance people’ in Cordite Journal online. (Non-fiction essay)

+  2014. ‘memoir: Train to Victoria‘ published in Lip Magazine, magazine for young women. (Memoir)

+ 2014. ‘Red Sequins’, in One Page Brisbane, vol. 1, Is.8. (Short Story)

+ 2014. ‘Sweetest tongue has sharpest tooth’, in Monster and the Monstrous Journal, Vol. 3, Is. 2, ISSN: 1756-770X. (Short Story)

+ 2013. ‘Gravitational Synesthesia in the Skrill-Crowd’ delivered at POPCAANZ (Popular Culture Association of Australia and New Zealand) conference. (Non-fiction essay)

+ 2013. ‘Balloon: festschrift’ (winner of the Josephine Ulrick Photography student story competition, 2007) published in Tincture Journal, Is. 3. The literary journal can be purchased here. (Short Story)

+ 2013. Arts writer for Art&Science Journal. 2013 – present. Some examples:


Greg Dunn

Incident Energy

Julie Buntaine

+ 2013. Read my guide to getting techy on the Gold Coast here. (Non-fiction)

+ 2013. Circular Poetry contributions to Letter.Box.Stamp.Collect. as part of the Queensland Poetry Festival

‘mebelowu’, ‘playg round’, ‘nevera round anymore’

mebelowu_ playg_round_watermark_small nevera_roundanymorewatermark_small

+ 2012. ‘Anonymous in Portmanteaupia’, in Social Alternatives: Politics and ethics in social media, 31(2): 27-32. This piece is being used as part of a reading list for Georgetown University’s Security Studies program, specifically classes on ‘violent non-state actors’. I was also part of the blind peer-review process for this journal. (Non-fiction essay)

+ 2005. ‘I am a Grass Spirit’ published in ArtLook, literary magazine, Issue 9. (Poetry)

+ 2005. ‘Summer’, an extract from novella ‘Uncolours’ published in Unreal Estate, creative writing anthology, Issue 6. (Novella)

+ 2004. ‘She Knows’ published in Unreal Estate, literary anthology, Issue 5. (Poetry)

+ 2004. ‘Rusty Boat’ published in Unreal Estate, literary anthology, Issue 5. (Poetry)

All of my artworks include audio elements. Often these are generated within the artwork itself, but sometimes I use soundtracks that I loop in the background (some of those can be listened to here). I like to use data (often environmental) and improvisational glitching techniques to experiment with sound. For example, the use of river movements to create postmodern notation, or the glitching of spoken word poetry.


Academically published:

2014 ‘Sine Wave Roofs’ for Haze Netlabel Sound Interpretations: Reykjavik, Issue 315

http://h-a-z- e.org/archives/4080#.VKp3oGSUf3o

2014 ‘Wasp’s Nest’ for Huellkurven issue 3


Please feel free to drop me an email. I am interested in collaborating with other artists, coders, technicians, musicians, writers, and others interested in physical computing and sustainability.


email: a[.]krauth[@]griffith[.]edu[.]au