[2] She was a faculty mentor for Performance Writing and Electronic literature on the In (ter)ventions: Literary Practice at the Edge program at The Banff Centre from 2010 to 2014.
[4] In 2019 she was awarded a Visiting Fellowship at the Moore Institute for Research in the Humanities and Social Studies at NUIG Galway, Ireland.
Since that time her pioneering works of Electronic literature have been published, performed, and presented in festivals, galleries and museums around the world, including: Montreal Museum of Fine Arts, Dare-Dare, OBORO (Art Centre) and Ada X (Studio), formerly known as StudioXX, in Montreal; Images Festival and Museum of Contemporary Canadian Art[20] in Toronto; Arnolfini[21] in Bristol; Palazzo delle arti Napoli in Naples; Machfeld Studio in Vienna; The Web Biennial in Istanbul; Open Space, San Francisco Museum of Modern Art in San Francisco; and Bibliothèque nationale de France and Le Cube in Paris.
[39] In 2017 a print book based on her web-based work, The Gathering Cloud, was published in Axminster by Uniformbooks, featuring a foreword by Jussi Parikka and an afterword by Lisa Robertson.
[40] The Belgian critic Jan Baetens situates The Gathering Cloud alongside Christian Bök's Crystallography, stating: "it is part of a newly emerging canon of art and science creations that help reshape the fundamental unity of the humanities.
"[46] Writing for Department of Feminist Conversations, Mary Paterson states: "Carpenter doesn't just take risks; she breaks things apart and creates them anew.
"[47] In 2020 her second poetry collection, This is a Picture of Wind, was published by Longbarrow Press, featuring a foreword by Johanna Drucker and an afterword by Vahni Capildeo.
[48] This collection explores the paradox presented by our attempts to evoke through the materiality of language a force such as wind which we can only perceive indirectly through its effect.
"[49] Writing for Spam Press, Alison Scott observes: "This language, always grappling with inadequacy, by abundance and concentration is forced to its visible edges, stretched, blown open – forming what Johanna Drucker calls in Carpenter's work 'a thick adjectival field of terms'.
[54] In 2008 she won the Quebec Writers' Federation Carte Blanche Award[55] for "Wyoming is Haunted",[56] a work of creative nonfiction.