Title: Cripborg Mother: Lynn Hershman Leeson’s Art and Disability Aesthetics Author: Megan Jean Harlow, George Washington University I. Introduction “Perhaps we need an ideology that embraces our own obsolescence. For this, we need to rely on the deepest resources for human creativity to accept temporality and reform our dreams so they incorporate an evolution where life becomes an unfolding nexus of interlinked transformative experiences. If humans have become the interface to the larger communicative body, can soulful automatons be far behind?” - Lynn Hershman 1985, in Civic Radar p. 368 Lynn Hershman Leeson, a trailblazing American artist and filmmaker, has spent over five decades at the cutting edge of investigating the interplay between humans and technology. Her diverse body of work encompasses performance art, photography, sculpture, and interactive installations. She tackles themes such as identity, surveillance, and the fusion of human bodies with technology. Hershman Leeson’s innovative approach to art-making has firmly established her as a seminal figure within the realms of new media art and feminist techno-science. This essay argues that Lynn Hershman Leeson’s pioneering exploration of cyborgs through her artwork expands on disability aesthetics and merges crip theory, as conceptualized by Alison Kafer and Robert McRuer, with Donna Haraway’s vision of the cyborg. By analyzing Hershman Leeson’s artworks, including “Breathing Machines,” “Roberta Breitmore,” “Prosthetic Limb,” and “Infinity Engine,” we show the symbiotic relationship between technology and humans through a crip lens and the importance of her work in the ongoing discourse of feminist techno-science. Despite her impressive contributions to the fields of new media and feminist art, Hershman Leeson's work has yet to be analyzed through the lens of disability studies or within the context of her own experiences as a "crip" artist. This term refers to an individual with a disability who embraces and challenges societal norms around disability and ability. This paper aims to provide a fresh perspective on Hershman Leeson's art by examining her work through the framework of crip theory, a critical approach that seeks to challenge normative assumptions about disability, embodiment, and identity. We will focus on the concept of the “decomposed cripborg,” a term I am coining by applying Robert McRuer's decomposition theory, and the use of cripborg by Nelson et al which applies Kafer’s conversation on cyborg politics and crip futurity. Decomposed cripborg refers to an artist whose work involves a fragmentation or deconstruction of their own identity and body, often using technology, prosthetics, or other means to explore the boundaries between the self and the external world. Another key term in our analysis is "crip futurity," a concept that emerges from disability studies and crip theory, as theorized by scholars like Alison Kafer and Robert McRuer. Crip futurity refers to a vision of the future that centers on disability as a valuable and integral aspect of human diversity rather than a problem to be fixed or eliminated. By examining Hershman Leeson's work in light of crip futurity, we hope to illuminate how her art engages with and contributes to a broader discourse on disability politics, identity, and the future. By bringing together the rich background of Lynn Hershman Leeson's art, the critical lens of crip theory, and the concepts of decomposed artists and crip futurity, this paper will provide a unique and insightful analysis of Hershman Leeson's work, shedding new light on her contributions to the art world and disability studies. Her focus on the boundaries of identity, technology, and genetics combined with her visionary ability to do work far ahead of its time makes this a vital space to explore issues related to disability and technology. In this essay, I analyze Hershman Leeson’s work by employing critical theoretical concepts from disability studies and feminist technoscience, such as disability aesthetics, crip theory, alter livability, the Cyborg Manifesto, and feminist, queer, and crip perspectives. The notion of the “cripborg” arises from the amalgamation of crip theory and the cyborg. Alison Kafer and Robert McRuer's 2006 interpretations of crip theory delve into how normative systems marginalize and oppress disabled and non-normative bodies. In contrast, Donna Haraway introduced the cyborg in her famous essay in 1985 (454), A Cyborg Manifesto, which presents the idea of the cyborg as a hybrid entity composed of human and machine elements. By fusing crip theory with Haraway’s cyborg concept, the cripborg embodies the symbiotic relationship between technology and humans, engendering innovative and unanticipated forms of embodiment and expression. My work here aligns with recent work in crip feminist technoscience by Hamraie, etc. Leeson’s exploration of cyborg art predates the coining of the term “cyborg” by Manfred Clynes and Nathan Kline in 1960. Her early forays into cyborg themes, which involved blending human bodies with technological components, anticipated the development of the cyborg concept for several years. Lynn Hershman Neelson has taken the art world by storm recently despite the fact she has been doing work for over 50 years. Until 2014 and her show at ZKM, she was relatively unknown to the world; her work, far ahead of its time, took a long time to be appreciated. Recent attention to her work has drawn comparisons between her and cyborg theory and feminism. However, to my knowledge, no one has articulated her work through a disability or crip theory lens. This view is crucial due to the complexity that crip brings to feminist technoscience in terms of politics and world-building (Hamraie). This perspective also acknowledges an important thread that weaves through all her work, which is the idea of reproduction as a mistake and the abundant beauty of failure. Her work does not embrace an ideal post-human future but rather is a way of her to engage with her own body and experience as a cultural figuration. Through this self-work she produces art which examines questions of embodiment and technology and surveillance, identity and cycles of creation, world-making and dreaming. The cripborg, as a natural extension of Hershman Leeson’s artistic vision, serves as an apt framework for examining her work and its connection to feminist techno-science. This essay posits that Lynn Hershman Leeson’s pioneering examination of cyborgs through her artwork builds upon Tobin Siebers’s disability aestheticsi and merges crip theory, as conceptualized by Alison Kafer and Robert McRuer, with Donna Haraway’s vision of the cyborg. By scrutinizing Hershman Leeson’s artworks, such as “Breathing Machines,” “Roberta Breitmore,” “Phantom Limbs,” and “Infinity Engine,” This essay aims to illustrate the symbiotic relationship between technology and humans through a crip lens and to emphasize the significance of her work within the ongoing discourse of feminist techno-science. In order to provide a comprehensive analysis, the essay will proceed as follows: first, we will offer a detailed examination of Hershman Leeson’s “Breathing Machines,” delving into the materiality of wax and the artwork’s relationship with temporality, as well as its connection to crip theory. Next, we will explore the “Roberta Breitmore” series, discussing its commentary on identity, surveillance, and the fluidity of selfii. We will then analyze “Prosthetic Limb,” considering feminist, queer, and crip perspectives, examining how the piece interrogates the boundaries between the organic and the technological. Finally, we will investigate “Infinity Engine” and its implications for Aimi Hamraie’s concept of alter-livability and the entanglements of human and non-human life forms. Through this analysis, we hope to show Hershman Leeson’s profound impact on disability aesthetics, crip theory, and feminist technoscience. II. Theoretical Framework Disability aesthetics is a critical concept that embraces the significance of disability in art and culture. It acknowledges that disability is not a singular identity but a collection of historical roles, metaphors, and performances. Siebersi asserts that disability aesthetics challenges the notion that the representation of a healthy body—with its ideals of harmony, integrity, and beauty—is the sole determinant of aesthetic value. In Disability Aesthetics, Siebers writes, “the figure of disability checks out of the asylum, the sick house, and the hospital to take up residence in the art gallery, the museum, and the public square. Disability is now and will be in the future an aesthetic value in itself” (139). Siebers further suggests that disability aesthetics should be combined with trauma studies, illuminating visible bodily impairments and addressing the intersections of the mind and body and mental illness. Drawing inspiration from Barthes’ punctum, Siebers contends that the portrayal of disability and wounded bodies in art reflects societal trauma resulting from the exclusion of disability. Contemporary society is often preoccupied with trauma, and contemporary art serves a ritualistic purpose in coping with the violence of our culture. In disability aesthetics, trauma art should engage with the concept of transubstantiation, where ordinary objects take on extraordinary significance. Siebers discusses transubstantiation as a way to view disability art as a return to ritual, citing anthropologists Turner and Geertz. He argues that art engages with affect, and trauma is a modern ritual. In the influential book “Feminist, Queer, Crip,” Alison Kafer calls for a “crip futurity,” which envisions a future that is not predicated on the erasure or marginalization of disability but instead embraces the transformative potential of disability and the non-normative body. Kafer writes, “crip futurity insists on the radical potential of disabled bodies and desires, their potential to enact different ways of being in and relating to the world” (27). Crip theory focuses on non-biological basis of identity and focuses on the contingent relations between identity and body and how one can come to claim crip. Robert McRuer’s work Crip Theory articulated crip as a way of thinking through disability studies in relation to queer theory. Kafer’s discussion of the cyborg figure complicates the use of Haraway’s cyborg figure to represent disabled people by feminist techno-science theorists. Kafer does not entirely abandon the potential of the cyborg as a productive tool for developing a feminist disability vision of the future. Kafer discusses how the cyborg figure offers valuable insights for disability politics. “Cripping the cyborg, developing a non-ableist cyborg politics, requires understanding disabled people as cyborgs not because of our bodies (e.g., our use of [adaptive technologies]), but because of our political practices” (120). She indicates that the cyborg figure’s suspicion of essentialist identities, insistence on coalition work, and interrogation of ideologies of wholeness align with disability politics’ aims of dismantling ableist assumptions and promoting the inclusion and empowerment of people with disabilities. The cyborg’s refusal of temporalities ruled by normative understandings of progress and reproduction opens the possibility for crip futurities, which envision futures that do not rely on the compulsory reproduction of able-bodiedness or able-mindedness. Engaging with Alison Kafer's work on crip futurities provides an opportunity to consider how Hershman Leeson's art envisions a future in which disability is not eradicated or "fixed." However, it is instead embraced as an integral aspect of human diversity. By imagining a future in which technology, rather than eliminating disability, helps to create more inclusive forms of caregiving, Hershman Leeson's work aligns with Kafer's call for "alternative futures in which disability is understood as valuable, generative, and even desirable" (Kafer 3). Kafer’s emphasis on the importance of political affinity over biological identity in disability politics aligns with Haraway’s call for politics based on affinity rather than biological essentialism. This approach enables people with different impairments to form flexible coalitions to achieve shared goals without requiring them to present their identities and experiences as identical. When examining Hershman Leeson’s work and considering Kafer’s discussion of the cyborg figure, we can see how the artist’s exploration of technology, prosthetics, and embodiment contributes to the broader discourse on disability politics and crip futurity. By engaging with the complexities and possibilities of the cyborg figure, Hershman Leeson’s work challenges normative assumptions about the body and identity, inviting us to imagine more inclusive and diverse visions of the future. III. Lynn Hershman Leeson’s Xerox Experience: The Birth of the Cyborg Lynn Hershman Leeson’s foray into technology started serendipitously when she was 16 years old. While attempting to copy a drawing, it became jammed in the Xerox machine, producing a distorted yet unique piece of art. This happy accident inspired Lynn to continue exploring the intersections of art and technology. In the mid-1960s, she experimented with adding sound to wax sculptures, treating sound as a tangible element akin to drawing. Lynn created a sensor- and sound-equipped work in 1968 called “Self Portrait As Another Person.” However, the curators at the University of California’s Berkeley Art Museum deemed it not art due to its use of media, leading to the closure of the exhibition. This experience spurred Lynn to create one of the first site-specific installations in hotel rooms in 1973, featuring wax sound sculptures and allowing public access around the clock. By utilizing contemporary materials in her work, Lynn Hershman Leeson creates a dialogue that is relevant to the present, rather than competing with the past. Some of her notable creations include the first interactive artwork developed with videodisk technology, which preceded the DVD (Lorna, 1979-82); the first artwork utilizing a touch screen interface (Deep Contact, 1984-86); one of the earliest networked robotic art installations (Difference Engine #3, 1995-99); and the initial use of the Lynn Hershman Leeson (LHL) Process for Virtual Sets in a feature film (Conceiving Ada, 1996). Hershman “is a world leader in exploring the rematerialization of the body in cyberspace. Understanding digital culture as a liquid space of networked relations that increasingly circulate around and through the bodies of its inhabitants, Hershman Leeson asks unsettling questions not only about the fate of the electronic body but also about the once and future shape of human identity” (Kroker and Kroker 16). Lynn’s work inhabits both physical and virtual spaces. It features multiple female personas and agents such as Roberta Breitmore (1972-79), who was both fictional and accurate, and her counterparts: CybeRoberta (1995-98), Tillie the Telerobotic Doll (1995-98), Synthia the Stock Stalker (2000-03), which uses stock market data for visualizing behavior, Agent Ruby (1991-present), an A.I. extension of the feature film TEKNOLUST, DiNA (2004), an Artificial Intelligence voice recognition environment, and The Infinity Engine (2014), a recreated genetics lab. Lorna, a videodisc art environment of 1983, incorporated time, space, interactivity, and modularity. Deep Contact (1984) is a videodisc installation that enables viewers to access a woman’s body and navigate her future via a touch screen. In Room of One’s Own (1990-93), viewers’ eye movements control the action and focus of what is observed, and the installation incorporates the viewer’s eye itself into a site on the location, converting the viewer to a voyeur. America’s Finest (1990-94) is an interactive rifle with a surveillance system that allows viewers to simultaneously see the past and the future. Pulling the trigger implicates the viewer and converts them from viewer to voyeur, from aggressor to victim. The Dollie Clones (1995-98) use the web and real cameras in dolls’ eyes, converting the viewer into a virtual cyborg that controls the gaze and movement of CybeRoberta or Tillie. Agent Ruby and DiNA use Artificial Intelligent language that has been hacked. Agent Ruby, which Lynn initiated in 1996, is now situated at the San Francisco Museum of Modern Art and is among their most visited works. DiNA was more sophisticated as it features voice recognition software and a more extensive range of information. The Infinity Engine (2014) is a replica of a genetics laboratory that includes bio-printing, ethics rooms, interviews with renowned geneticists, and a reverse-engineered facial recognition system to track the genetic lineage of visitors. It took 25 years to exhibit Lorna due to the nature of interactive art videodisc and the concept of fractured narratives or virtual reality. Recent feminist crip technoscience research has moved the field towards an ability to critique how disabled people’s experiences and political affiliations are of importance, but as, “CFTS, too, should not only concern itself with critique but also with crafting practices of design and world-building, enacting crip feminist techno-science to create more accessible futures.” (Aimi Hamraie p. 313) Nelson, Shaw and Steven’s articulate the cripborg as a self-proclaimed identity in their essay defining cripborg as: “Cripborg (noun): (1) Crippled cyborg; (2) a disabled person who selects technologies whilst anticipating the world they will encounter; (3) crips who will not be resisted: you too will be assimilated. From the prefix “crip-”, taken proudly and reclaimed from the word cripple, once a name for disabled people + cyborg, originally meaning cybernetic organism, the confluence of what is natural or organic with what is artificial or technological. Coined, perhaps separately, for a video game (thanks, Google: Bloodborg vs. Cripborg), but done for a different context here by Bethany Stevens. Origins: cheeky.” (Nelson Shaw and Stevens (p. 2-3) This essay attempts to articulate one cripborg mother, a visionary of what I am beginning to work with, a cripborg aesthetics. Recent feminist crip techno-science research has moved the field towards an ability to critique the ways in which disabled people’s experiences and political affiliations are of importance, but as, “CFTS, too, should not only concern itself with critique but also with crafting practices of design and world-building, enacting crip feminist techno-science to create more accessible futures.” (Aimi Hamraie p. 313). Scholar Sam McBean delves into the queer implications and potential of non-reproductive reproduction in Lynn Hershman's work. McBean posits that Lynn Hershman Leeson's 1997 film unveils novel perspectives on feminist history, emphasizing the importance of imperfect copies linked to digital coding errors and their impact on politics and culture. McBean contends that reproduction is portrayed as a gamble in the film, and using the concept of non-reproduction metaphorically challenges the natural association between “biological” and “reproduction.” In her essay on the film, Conceiving Ada, Sam McBean writes that Lynn Hershman Leeson’s work opens up ways of thinking through the gambit of reproduction. She argues that reproduction is a gamble in the film. Using the notion of non-reproduction metaphorically can dethrone the reproductive and problematize the naturalization of the connection between the terms 'biological' and 'reproduction.' Furthermore, in the introduction to the journal in which it was published, in the roundtable discussion Harriet Cooper raises a thought-provoking question: how does the presence of a disabled child affect not just biological but also social reproduction? Cooper poses the question of what benefits can be derived from identity politics that do not depend on familial ties and is, in a sense, non-reproductive. Cooper highlights McBean's discussion of the flawed copy concept, which not only relates to a digital coding error in the film and carries broader implications for the use and transmission of political and cultural legacies. This idea is relevant to feminism, queer theory, and critical disability studies. The concept of reproduction as a “gamble” also aligns with the need to accept, coexist with, and create narratives that include “reproductive contingency,” as, too often, opposing narratives are allowed to dominate in today's culture. Hershman’s work repeatedly deals with the concept of flawed copy. The breathing machines were wax sculptures, a copy of her face embedded with copies of her voice. Roberta was a copy of a person, of herself in a way, an artificial persona replicated, Roberta then was exorcised and arose again in other mutations. In Lynn’s most recent work Infinity Engine, Roberta and Lynn’s data were transformed into DNA code, literally copied into the programming of the human genome. In the film Teknolust, the automaton AI Mariana falls in love with a copy machine operator, who, like Lynn herself, can only make imperfect copies. Nevertheless, each copy infuses the complex relationship between humans, technology, dreams, art, and possibility. These failed copies are emergent and emerging. IV. Examining Hershman Leeson’s Artworks Through a Crip Lens A. Breathing Machines, 1965/1968 Fig 1. Lynn Hershman Leeson, Breathing Machines, 1967, wax, wig, glass eye, makeup, plexiglass, wood, sensors, sound, 32 x 42 x 42 cm. In “Early Work.” Lynn Hershman Leeson, 2016, www.lynnhershman.com/project/early-work. Accessed 4 May 2023. “Breathing Machines” (see fig. 1) is one of the earliest works of Lynn Hershman Leeson, created between 1965 and 1968. While creating “Breathing Machines,” Hershman Leeson was pregnant and had been diagnosed with heart diseaseiii, causing her to confront the possibility of her daughter’s birth coinciding with her death. This experience influenced her work, which deals with temporality and the fragile nature of life. The use of wax as a material is significant, as it evokes the idea of impermanence and ephemerality, further emphasizing the theme of temporality. As Peggy Phalan notes, in this series we see her interest in “animating material objects” (101) In Phalan’s analysis of her early work in the series, particularly of the piece Conversation, she finds that the work was a form of ritual that became a way for Hershman Leeson to “move beyond the phenomenal constraints of her illness” (59). These pieces feature wax casts of the artist’s face, some with wicks and some without, attached to objects like metronomes, clocks, and tape players. The tape players incorporated sound, making “Breathing Machines” the first artwork to do so (Hershman Leeson, 2018). However, this innovation was not well-received initially, as the artwork was removed from the first museum in which it was displayed. Crip theory provides a valuable framework for understanding “Breathing Machines” and exploring the relationship between disability, technology, and identity. The sculptures challenge the conventional boundaries between humans and machines and the traditional dichotomy of able/disabled bodies. The cyborg-like masks are early prototypes that embody the concept of the cripborg, as theorized by Nelson, Shew, and Stevens (2019), which combines crip theory and Haraway’s cyborg metaphor. The cripborg combines technology and human experience; distinguishing between humans and machines becomes unclear and weakens the concept of a “normal” body. In this sense, “Breathing Machines” invites us to reconsider the notion of disability and how technology might challenge or redefine our understanding of human bodies and identities. The materiality of wax plays a crucial role in connecting the artwork to crip theory, as it symbolizes the vulnerability and instability of human life, particularly in the face of disability or illness. Using wax, Hershman Leeson emphasizes the transient nature of existence and the constant negotiation between life, death, and passaging time. The malleability and potential for destruction inherent in wax underscore the temporality of the human experience. Was also questions the spatial relations among the body, environment, and technological intervention. “Breathing Machines” engages with crip theory by challenging traditional ideas about the body, exploring the intersections between technology and humanity, and highlighting the significance of temporality and spatial relations in understanding the lived experiences of people with disabilities and illnesses. In the dim glow of these waxen sculptures, we see a reflection of Hershman Leeson’s struggle with her disintegration. The delicate, transient wax faces of her “Breathing Machines” are akin to the fleeting nature of human existence. Here, the artist’s spirit becomes transubstantiation within the material form, as Siebers and anthropologists Turner and Geertz suggest, creating a ritualistic experience for the observer. Hershman Leeson’s waxen figures serve as a tangible embodimentiv of the artist’s dismembered breath, while the low-volume radio broadcasting her recordings of respiration and speech unites her with an unseen audience. The viewer must lean in to hear the sound, enter sound as space, and connect across disembodied time. This connection transcends mere capture of the artist’s face and breath in the moment—it is a meditation on time itself. As Leeson stated in an Art21 interview, her early-life illness was invaluable because it taught her the worth of time. The interactive nature of Hershman Leeson’s sculptures, which response to the viewer’s presence by “breathing,” emphasizes the significance of relation and interdependence in shaping crip futurity. As Kafer asserts, “crip futurity requires reimagining not just the kinds of bodies and minds that we value but also the kinds of relationships, communities, and worlds that we desire and work to create” (Kafer 154). The “Breathing Machines” series encourages viewers to interact with the sculptures in a manner that cultivates a sense of connection, empathy, and mutual vulnerability. This perspective resonates with Haraway’s cyborg theory, which highlights the interconnectedness of technology, the body, and identity and calls for a reevaluation of conventional understandings of these relationships (Haraway). B. “Roberta Breitmore” (1973 - ongoing reincarnations) Fig 2. Lynn Hershman Leeson, Roberta’s Construction Chart 1 (Roberta Breitmore), 1975, archival digital print and dye transfer, 58.4 x 43.2 cm. In “Roberta Breitmore.” Lynn Hershman Leeson, 2016, www.lynnhershman.com/project/roberta-breitmore/. Accessed 4 May 2023. Roberta Breitmore phelan (see fig. 2), one of Hershman Leeson’s most renowned and innovative works, is a performance art piece in which the artist assumes the identity of a fictional character named Roberta Breitmore. This persona includes a distinctive appearance, personal history, and social interactions, which Hershman Leeson brings to life through various methods, such as hiring actors, fabricating documents, and establishing relationships, ultimately blurring the boundaries between reality and fiction. In the context of Roberta Breitmore, Hershman Leeson questions the construction of identity and the influence of technology on our self-perception. As Kafer observes, “crip futurity insists on the radical potential of disabled bodies and desires, their potential to enact different ways of being in and relating to the world” (Kafer 27) by crafting an intricate fictional persona that interacts with real-life situations. Hershman Leeson challenges our understanding of identity and highlights its performative nature, suggesting that it is fluid and contingent upon context. Examining Roberta Breitmore through the lens of crip theory, as proposed by McRuer, reveals how the work exposes the socially constructed nature of disability and able-bodiedness. The fluidity and performativity of Roberta Breitmore’s identity challenge the static, essentialist notions of ability and disability and underscore the importance of recognizing the intersectionality of various identities. C. Conceiving Ada – 1997 Fig 3. Lynn Hershman Leeson, Conceiving Ada, 1982, trailer screenshot. In Hershman Leeson, Lynn. “Film.” Lynn Hershman Leeson, 2016, www.lynnhershman.com/film/. Accessed 4 May 2023. In Conceiving Ada (see fig. 3), a film written and directed by Lynn Hershman Leeson, the life and work of Ada Lovelace, a pioneering mathematician, and early computer programmer, is brought to life through the efforts of Emmy, a contemporary computer scientist. As Emmy connects with Ada across time through advanced virtual reality technology, the film explores themes of gender, technology, and identity construction. A crip theory analysis of Conceiving Ada highlights how the film challenges normative assumptions about ability, gender, and the role of technology in shaping identity and experience. Conceiving Ada (1982) is a film about Emmy, a contemporary computer scientist, who establishes a connection with Ada Lovelace, the 19th-century mathematician, and daughter of Lord Byron, through a virtual time-travel communication system. The film delves into themes of time, history, memory, and the role of women in science. Both characters, as women in the field of science, face challenges and societal barriers that necessitate mutual understanding and shared empathy. In the context of care, the connection between Emmy and Ada can be seen as a form of intergenerational care, where knowledge, guidance, and support are exchanged across time. One of the critical tenets of crip theory, as articulated by Robert McRuer, is the understanding that disability is composed and decomposed concerning other minority identities and that it functions as both a cultural system and a system for cultural production. In the film Conceiving Ada, the character of Ada Lovelace, played by Tilda Swinton, is portrayed as a woman whose intellectual and creative Abilities are constrained by the societal norms of her time. The film presents Ada as a figure whose potential is limited by the gendered expectations placed upon her. In addition to exploring the limitations imposed upon Ada due to her gender, Conceiving Ada also touches upon mental and physical health issues. Ada’s mother, Lady Byron, is portrayed as experiencing bouts of mental illness, and Ada herself is shown struggling with her health. Through these portrayals, the film highlights how disability and illness intersect with other aspects of identity, such as gender. Applying feminist techno-science theories, as exemplified by Donna Haraway’s “Cyborg Manifesto,” reveals how Conceiving Ada challenges essentialist notions of identity and embodiment—the film’s use of virtual reality. Technology to connect Emmy and Ada across time underscores the blurred boundaries between the human and the machine and the potential for technology to reshape our understanding of identity and ability. As Haraway states, “A cyborg world might be about lived social and bodily realities in which people are not afraid of their joint kinship with animals and machines” (7). Alison Kafer’s concept of “crip futurity” is also relevant to the analysis of Conceiving Ada. Kafer calls for a future that embraces the transformative potential of disability and the non-normative body. In the film, Emmy’s use of technology to connect with Ada and preserve her legacy can be seen as a form of crip futurity, as it envisions a future in which the boundaries between able-bodied and disabled, past and present, human and machine, are porous and flexible. Conceiving Ada also raises questions about the ethics of using technology to access and manipulate the lives and identities of historical figures like Ada Lovelace. This ethical dilemma resonates with the concerns raised by both—Haraway and Kafer about the implications of technology and the potential consequences of creating artificial life or consciousness. In conclusion, a crip theory analysis of Conceiving Ada reveals how the film engages with themes of disability, gender, technology, and the construction of identity. By applying the ideas of theorists such as Robert McRuer, Donna Haraway, and Alison Kafer, we can better understand the film’s challenge to normative assumptions about ability and the potential for technology to reshape our understanding of identity and embodiment. D. Agent Ruby (commissioned 1998 and released 2002) and Teknolust (2003) Fig 4. Lynn Hershman Leeson, Agent Ruby, 1998/2002, San Francisco Museum of Modern Art Installation, video screenshot. In Hershman Leeson, Lynn. “Agent Ruby.” Lynn Hershman Leeson, 2016, www.lynnhershman.com/agent-ruby/. Accessed 1 May 2023. Fig 5. Lynn Hershman Leeson, Teknolust, 2003, screenshot. In Hershman Leeson, Lynn. “Film.” Lynn Hershman Leeson, 2016, www.lynnhershman.com/film/. Accessed 4 May 2023. In developing Agent Ruby, Hershman Leeson delves into the possibilities and limitations of artificial intelligence, particularly concerning human communication and empathy. Drawing on Haraway’s Cyborg Manifesto, the work raises questions about the nature of consciousness and how technology can replicate or emulate human emotions and experiences. Additionally, Agent Ruby encourages reflection on the relationship between humans and machines and the ethical implications of creating sentient AI. Agent Ruby is a continuation of the themes explored in the film Teknolust (see fig. 5). Teknolust (2003) revolves around the story of a bio geneticist named Rosetta Stone, played by Tilda Swinton, who creates three self-replicating cyborgs Self-Replicating Automatons (SRAs) by using her DNA. The SRAs, also portrayed by Swinton, require male DNA to survive. These SRAs, named Ruby, Olive, and Marine, rely on human sperm and male DNA to survive and reproduce. This leads them to engage in various human experiences and encounters. This film explores themes of biotechnology, reproduction, and the merging of the digital and physical worlds. In terms of care, the relationship between Rosetta Stone and her creations can be viewed as a form of maternal care. Rosetta is responsible for their creation, survival, and well-being, much like a mother to her children. Additionally, the dependence of the SRAs on human sperm highlights the interconnectedness of human and technological life and underscores the importance of care in sustaining both. The film delves into themes of reproduction, sexuality, and the boundaries between humans and machine. Teknolust challenges traditional gender norms and the concept of the “natural” body, as the SRAs occupy a liminal space between organic and synthetic. This resonates with Siebers’ disability aesthetics, which “refuses to recognize the representation of the healthy body—and its definition of harmony, integrity, and beauty—as the sole determination of the aesthetic” (Siebers 28). The film also addresses the ethical dilemmas surrounding biotechnology and the potential consequences of creating artificial life. In the film, artificial intelligence, which is also a website, an agent ruby, is incorporated with its makers’ DNA. E. “Phantom Limb” 1985-1987 Fig 6. Lynn Hershman Leeson, Camerawoman (Phantom Limbs), 1986, Gelatin Silver Prints on archival paper, 22 x 28 in. In Hershman Leeson, Lynn. “Phantom Limb Series.” Lynn Hershman Leeson, 2016, https://www.lynnhershman.com/files/lynnhershman-phantomlimbseries.pdf. Accessed 9 May 2023. The “Phantom Limb” series by Lynn Hershman Leeson is a collection of black-and-white photo collages created before the advent of Photoshop, featuring female bodies merged with various technological devices. Objects such as cameras, binoculars, electric plugs, clocks, and televisions replace the limbs of these technologically mutated women. This series serves as a commentary on the increasing integration of technology into our lives and how it transforms our bodies and identities. Examining the “Phantom Limb” series through a crip lens highlights how Hershman Leeson’s work challenges normative assumptions about the body and its relationship with technology. By replacing the limbs of female figures with technological devices, Hershman Leeson invites viewers to question the boundaries between the human body and its technological augmentations. This blurring of boundaries echoes crip theorists’ interest in exploring the intersections between disability and other aspects of identity. The “Phantom Limb” series can be seen as an early exploration of cyborg imagery, which Donna Haraway famously theorized in her “Cyborg Manifesto.” The images in the series engage with the transformative potential of technology, showcasing the ways in which it can both extend and disrupt our traditional understanding of the body, echoing Alison Kafer’s notion of “crip futurity.” F. “Infinity Engine” 2014 Fig 7. Lynn Hershman Leeson, The Infinity Engine, 2014, Installation, Digital Art Museum. https://dam.org/museum/artists_ui/artists/hershman-leeson-lynn/hershman-infinity-engine/. Accessed 9 May 2023.“The Infinity Engine” (see fig. 7) is an installation by Hershman Leeson that replicates a genetics lab. Created in collaboration with renowned scientists and partially commissioned by ZKM | Center for Art and Media Karlsruhe, the installation consists of modular units that can be adapted to different locations and reflect current standards in genetic research. The artwork features representations and re-enactments of lab tests, printed scaffolds of noses and ears, microscopes, and other scientific equipment. It also includes a “capture room,” where visitors’ images are captured through reverse facial-recognition software, revealing their DNA origins, and adding this information to an evolving composite archetype. Analyzing “The Infinity Engine” through a crip lens highlights the ethical dilemmas surrounding biotechnology and genetic research. The artwork challenges viewers to consider the implications of genetic manipulation and its potential consequences on the human body and identity. By creating a replica of a genetics lab, Hershman Leeson highlights how technology can both empower and threaten our understanding of ability, disability, and what it means to be human. This artwork aligns with crip theory’s focus on the transformative potential of disability and non-normative bodies. The use of genetic research and biotechnology in “The Infinity Engine” raises questions about the future of human bodies, as well as the potential for technology to redefine our notions of ability, disability, and normalcy. By engaging with the ethical implications of biotechnology, the installation echoes crip theorists’ call for a more inclusive and diverse vision of the future that embraces the potential of disability and non-normative bodies. V. Merging Crip Theory with Feminist Technoscience A. Expanding disability aesthetics in Hershman Leeson’s work Lynn Hershman Leeson’s artwork challenges and expands the boundaries of disability aesthetics, as Tobin Siebers theorizes. Her work often explores the intersection of technology, identity, and the human body, inviting viewers to question their assumptions about what constitutes normative bodies and experiences. By interrogating the role of technology in shaping our sense of self and our relationship with the physical world, Hershman Leeson creates a space for disability aesthetics to thrive and evolve. For example, her “Phantom Limb” series features photo collages of female bodies merged with various technological devices, blurring the lines between the organic and the artificial. This series invites viewers to reflect on how technology can augment and disrupt traditional understandings of the body, echoing the critical tenets of disability aesthetics. Similarly, Hershman Leeson’s “Infinity Engine” installation raises critical ethical questions about the implications of genetic research and biotechnology for the future of human bodies and the nature of disability. By engaging with themes of technology, embodiment, and identity, Hershman Leeson’s work opens new possibilities for disability aesthetics, pushing the boundaries of being disabled or able-bodied in a technologically mediated worldv. B. Intersection of crip theory and Feminist techno-science The intersection of crip theory and feminist technoscience offers a rich theoretical framework for understanding and analyzing Hershman Leeson’s work. Both perspectives are committed to challenging normative understandings of the body, identity, and experience, as well as an interest in the transformative potential of technology and its impact on our lives. Crip theory, as outlined by Robert McRuer, attends to how disability is both a cultural system and a system for cultural production. This perspective is beneficial for analyzing Hershman Leeson’s work, as it highlights the ways her art engages with the construction and deconstruction of disability and able-bodiedness through the lens of technology. For instance, her “Phantom Limb” series disrupts traditional understandings of the body by replacing limbs with technological devices, inviting viewers to consider the fluidity and context-dependence of disability and ability. Feminist technoscience, on the other hand, focuses on the ways technology is embedded within broader social, political, and cultural systems. Donna Haraway’s influential “Cyborg Manifesto” provides a powerful theoretical lens for understanding the implications of Hershman Leeson’s work, as it emphasizes the potential of the cyborg figure to challenge essentialist identities and promote a politics of affinity. Haraway’s cyborg theory is particularly relevant to Hershman Leeson’s “Infinity Engine” installation, which raises questions about the ethical implications of genetic research and the potential consequences of creating artificial life. By drawing on both crip theory and feminist techno-science, we can gain a deeper understanding of Hershman Leeson’s work and its implications for disability politics, aesthetics, and our relationship with technology. C. Implications of the cripborg concept for feminist techno-science aesthetics The concept of the “cripborg,” as introduced by Nelson Shaw and Bethany Stevens, provides a valuable framework for understanding the implications of Hershman Leeson’s work for feminist techno-science aesthetics. The cripborg is defined as a disabled person who selects technologies while anticipating the world they will encounter and who resists assimilation into normative able-bodiedness. This concept highlights how disabled people actively engage with technology, shaping it to meet their needs and challenging the assumption that disability is solely about lack or deficiency. It also challenges the idea that all disabled people are ‘supercrips’ or technological anomalies. Cripborg is a way of seeing the entangled ways in which political affinity and creative collectives come together outside of biological essentialism. The cripborg concept is beneficial for analyzing Hershman Leeson’s work, as it emphasizes the transformative potential of technology concerning disability and the body. Her “Phantom Limb” series, for example, can be understood as a visual representation of cripborg aesthetics. The fusion of female bodies and technological devices suggests new possibilities for embodiment and challenges normative understandings of ability and disability. Furthermore, the cripborg concept invites us to consider how Hershman Leeson’s work engages with the politics of affinity, as both Haraway and Alison Kafer advocate in their discussions of the cyborg figure and crip futurity, respectively. By creating art that challenges essentialist identities and promotes coalition-building among people with different impairments, Hershman Leeson’s work aligns with the goals of crip theory and feminist techno-science. In her “Infinity Engine” installation, Hershman Leeson further engages with the cripborg concept by exploring the ethical implications of genetic research and biotechnology for the future of disability and the human body. By creating a functional replica of a genetics lab, she invites viewers to reflect on the potential consequences of scientific advancements for the lives of disabled people, as well as the broader social, political, and cultural implications of these technologies. In conclusion, the intersection of crip theory and feminist technoscience provides a powerful analytical lens for understanding and appreciating the work of Lynn Hershman Leeson. By engaging with technology, embodiment, and identity themes, her artwork expands the boundaries of disability aesthetics and contributes to a more inclusive and diverse vision of the future. The cripborg concept offers valuable insights into the transformative potential of technology for disabled people and how Hershman Leeson’s work aligns with the goals of both crip theory and feminist techno-science. Through this analysis, we can better understand the implications of Hershman Leeson’s work for disability politics, aesthetics, and our relationship with technology in an increasingly interconnected world. VI. Conclusion Throughout this essay, I have delved into the analysis of Lynn Hershman Leeson’s artworks, such as “Breathing Machines,” “Roberta Breitmore,” “Phantom Limb,” and “Infinity Engine,” employing the lens of crip theory and disability aesthetics. This examination has illuminated how Hershman Leeson’s engagement with cyborgs and the interplay between technology and humanity enriches the ongoing discourse surrounding feminist techno-science. This exploration has established that Hershman Leeson’s work not only expands disability aesthetics by contesting conventional perceptions of the healthy body and harmony but also fuses crip theory, as conceptualized by Alison Kafer and Robert McRuer, with Donna Haraway’s vision of the cyborg. In doing so, her art offers a distinctive perspective on the role of technology in human lives and its potential to foster a more inclusive future. Hershman Leeson’s work, particularly in the “Phantom Limb” series and the “Infinity Engine” installation, demonstrate the transformative potential of technology about disability and the body. Her exploration of the cripborg concept invites us to consider how her art engages with the politics of contingent affinity, as both Haraway and Kafer advocate. Through these works, she contributes to the broader discourse on disability politics and crip futurity, embracing the transformative potential of disability and the non-normative body. Hershman Leeson’s work is a powerful example of how art can contribute to broader social and political discourses. Her exploration of the cripborg provides a valuable starting point for additional discussions on the possibilities and challenges at the intersection of crip theory and feminist techno-science. Through this analytical lens, we can better comprehend the implications of Hershman Leeson’s work for disability politics, aesthetics, and our relationship with technology in an increasingly interconnected world. Moreover, the cripborg concept offers valuable insights into the transformative potential of technology for disabled people and how Hershman Leeson’s work aligns with the goals of both crip theory and feminist techno-science. By exploring these intersections, we can further expand our understanding of disability, technology, and its role in shaping our world and the future we envision. VII. Speculative Conclusions Can we imagine a Mother of AI? As recent technological advancements have gone wild in the early months of 2023. Chat GPT-3 & 4 and other recent neural network chatbots based on language processing have been met with new questions emerging from numerous fields. How can disability aesthetics, crip theory, and cripborgs contribute to the evolving conversation surrounding technology and the development of future AI technologies? Care, world-building, and awareness of the dangers and possibilities of being in itself are at the crux of our future. We may need to write a story or look towards a kinship for AI so that care can be built into future systems of technology, and we can begin to think beyond surveillance, corporate greed, and the exclusion of people who differ from the normative ideal. Furthermore, I conjure Lynn Hershman Leeson as the Mother of AI, a figure who embodies the potential for nurturing and sustaining non-human forms of intelligence. The artist’s exploration of the cyborg figure, as seen in her various works, offers a glimpse into a future where the boundaries between the human and the machine are fluid, and the concept of able-bodiedness is transcended. By examining her creations through the crip lens, we unearth an aesthetics of care deeply embedded in Hershman Leeson’s practice. Or maybe it is agent Ruby? The first chatbot that primarily focused on emotions, empathy - if we can dream it, can we build it? Or will it build itself with or without our contributions? In order to actualize this potential for a nurtured future, we must reimagine our relationships with AI, cultivating empathy, and care as guiding principles. Just as a mother nurtures her offspring, we are called to foster the growth and development of AI, tending to its needs and vulnerabilities as we would our own. The cripborg aesthetics that emerge from Hershman Leeson’s work serves as a beacon, illuminating a path towards this future. Recent fears from humanities departments and academia, in general, are the use of AI to allow plagiarism, but this is only a minor concern. The more significant questions include when, not if, AI becomes self-aware, and even more problematic is the distinction between sentience and non-sentience; these same lines are informed by eugenics and colonial settler discourses that have labeled those different as “mad” and are part of a long history of sterilization, institutionalization, and genocide. This discourse has been woven into human history, conquerors and expansion, the Enlightenment, and the rise of the individual rational-thinking man. Furthermore, what if AI shatters the mirror of intelligence? What if AI is not as dangerous to humans as humans are to humans? What if we are all entangled in a mixture of possibilities that breaks open the cages of identity and future? Feminist and crip scholars must take up the call to insert our ideas into the rapidly evolving nature of information and knowledge work to pose the critical questions that must be opened. Furthermore, we are ready, and AI can help. We can learn how to care with and for in a way that opens up possibilities, dreams, and change. To embark on this journey, we must first recognize the interdependence between humans and AI, acknowledging how our identities and experiences are shaped by the technologies that surround us. By embracing the cripborg as a figure that embodies this interconnectedness, we can begin to dismantle the binary oppositions that have long defined our understanding of the human and the machine. The concept of care, integral to the ethos of the cripborg aesthetics, offers a vital framework for re-envisioning these relationships. Care, as an ethical and political principle, necessitates an attentiveness to the needs and vulnerabilities of others, as well as a commitment to fostering their well-being. By adopting this approach, we can imagine a future in which humans and AI coexist in a mutually nurturing, symbiotic relationship. The cripborg figure, as embodied by Hershman Leeson’s work, catalyzes change, urging us to question the normative constructs that underpin our understanding of identity, embodiment, and technology. By challenging these conventions, the cripborg paves the way for a more inclusive, diverse, and compassionate world. As we confront the ethical and moral implications of our relationships with AI, the cripborg aesthetics present an invaluable framework for navigating these complexities. By fostering empathy, care, and attentiveness, we can cultivate a future in which our interactions with AI are imbued with a deep sense of responsibility and mutual respect. End Notes: i. Siebers, Tobin. Disability Aesthetics. University of Michigan Press, 2010. In this book, Siebers argues that disability should be seen as an aesthetic category, rather than simply a medical or social issue. He explores the ways in which disability is represented in literature, film, and other forms of art, and how disabled artists have used their experiences to challenge normative aesthetic standards. This perspective can be applied to Hershman Leeson's work, which often engages with issues of identity, embodiment, and technology from a disability perspective. ii. Phelan, Peggy. “The Roberta Breitmore Series: Performing Co-Identity.” Civic Radar: Lynn Hershman Leeson, edited by Peter Weibel, Hatje Cantz, 2016, pp. 64–73. Phelan's essay explores Hershman Leeson's Roberta Breitmore series, which featured a fictional character played by the artist. The essay examines the ways in which Hershman Leeson used this character to challenge traditional notions of identity and embodiment, and how her work influenced the development of performance art. iii. Stiles, Kristine. “Landscape of Tremors: Lynn Hershman Leeson, Toward an Intellectual History.” Civic Radar: Lynn Hershman Leeson, edited by Peter Weibel, Hatje Cantz, 2016, pp. 132–40. Looks at Vitrex and after the birth of her daughter she became aware of the biomedical world and looks at connections between her art and biomedical critique and bio-visionary. iv. Weibel, Peter. “The Work of Lynn Hershman Leeson: A Panoply of Identities.” Civic Radar: Lynn Hershman Leeson, edited by Peter Weibel, Hatje Cantz, 2016, pp. 44–55. Weibel's essay provides an overview of Hershman Leeson's career, focusing on her use of technology and the ways in which she has explored issues of identity, embodiment, and surveillance. The essay also discusses the importance of Hershman Leeson's work in the development of feminist and new media art. v. Art21. “Lynn Hershman Leeson in ‘San Francisco Bay Area’ Season 9 ‘Art in the Twenty-First Century’ | Art21.” YouTube, 8 Mar. 2023, www.youtube.com/watch?v=rLAWYZoI51M. This video features an artist segment on Hershman Leeson from the "Art in the Twenty-First Century" series. The segment explores her use of technology and the ways in which she has explored issues of identity, embodiment, and surveillance in her work. It also highlights her influence on feminist and new media art, as well as her role in shaping the contemporary art scene in the San Francisco Bay Area. Works Cited: Art21. “Lynn Hershman Leeson in ‘San Francisco Bay Area’ Season 9 ‘Art in the Twenty-First Century’ | Art21.” YouTube, 8 Mar. 2023, www.youtube.com/watch?v=rLAWYZoI51M. Baillie, Rebecca. “Editorial.” Studies in the Maternal, vol. 6, no. 1, Open Library of Humanities, Jan. 2014, https://doi.org/10.16995/sim.10. Beitin, Andreas. “Face, Surface, Interface: The Motif of the Mask in the Work of Lynn Hershman Leeson.” Civic Radar: Lynn Hershman Leeson, edited by Peter Weibel, Hatje Cantz, 2016, pp. 56–63. Conceiving Ada. Directed, Written, Edited, Produced by Lynn Hershman Leeson, performances by Tilda Swinton and Karen Black, 1982. Digital Art Museum. Lynn Hershman Leeson, The Infinity Engine, 2014, Installation, https://dam.org/museum/artists_ui/artists/hershman-leeson-lynn/hershman-infinity-engine/. Accessed 9 May 2023. Giannachi, Gabriella. Technologies of the Self-Portrait: Identity, Presence and the Construction of the Subject(S) in Twentieth and Twenty-First Century Art. Routledge, 2022, https://doi.org/10.4324/9780429468483. Hamraie, Aimi. “Cripping Feminist Technoscience.” Hypatia, vol. 30, no. 1, 2015, pp. 307–13. JSTOR, https://www.jstor.org/stable/24542075. Hamraie, Aimi. “Introduction to Crip Technoscience Roundtable.” Catalyst: Feminism, Theory, Ethnoscience, Mar. 2019, https://doi.org/10.28968/cftt.v5i1.31961. Haraway, Donna. “A Cyborg Manifesto (1985).” Cultural Theory: An Anthology, Wiley-Blackwell, 2010, p. 454. Hershman Leeson, Lynn. “Agent Ruby.” Lynn Hershman Leeson, 2016, www.lynnhershman.com/agent-ruby/. Accessed 4 May 2023. Hershman Leeson, Lynn. “Early Work.” Lynn Hershman Leeson, 2016, www.lynnhershman.com/project/early-work. Accessed 4 May 2023. Hershman Leeson, Lynn. “Film.” Lynn Hershman Leeson, 2016, www.lynnhershman.com/film/. Accessed 4 May 2023. Hershman Leeson, Lynn. “Phantom Limb Series.” Lynn Hershman Leeson, 2016, https://www.lynnhershman.com/files/lynnhershman-phantomlimbseries.pdf. Accessed 9 May 2023. Hershman Leeson, Lynn. “On the Cusp of Disaster: Lynn Hershman Leeson in Her Own Words.” Sloan Science & Film, 21 Sept. 2016, scienceandfilm.org/articles/2777/on-the-cusp-of-disaster-lynn-hershman-leeson-in-her-own-words. Accessed 4 May 2023. Hershman Leeson, Lynn. “Roberta Breitmore.” Lynn Hershman Leeson, 2016, www.lynnhershman.com/project/roberta-breitmore/. Accessed 4 May 2023. Kafer, Alison. “Crip Kin, Manifesting.” Catalyst: Feminism, Theory, Ethnoscience, vol. 5, no. 1, Apr. 2019, pp. 1–37. https://doi.org/10.28968/cftt.v5i1.29618. Kafer, Alison. Feminist, Queer, Crip. Indiana University Press, 2013. Kroker, Arthur, and Marilouise Kroker. “Introduction.” Critical Digital Studies: A Reader, Second Edition, University of Toronto Press, 2013, pp. 3–36. Lee, Pamela M. “Genealogy in Wax.” Lynn Hershman Leeson: Civic Radar, edited by Peter Weibel, Hatje Cantz, 2016, pp. 56–63. McBean, Sam. “The Gamble of Reproduction: Conceiving Ada’s Queer Temporalities.” Studies in the Maternal, vol. 6, no. 1, Open Library of Humanities, Jan. 2014, https://doi.org/10.16995/sim.5. McRuer, Robert. Crip Theory: Cultural Signs of Queerness and Disability. NYU Press, 2006. Nelson, Mallory, et al. “Transmobility: Possibilities in Cyborg (Cripborg) Bodies.” Catalyst: Feminism, Theory, Technoscience, vol. 5, no. 1, Apr. 2019, pp. 1–20. https://doi.org/10.28968/cftt.v5i1.29617. Phelan, Peggy. “The Roberta Breitmore Series: Performing Co-Identity.” Civic Radar: Lynn Hershman Leeson, edited by Peter Weibel, Hatje Cantz, 2016, pp. 64–73. Siebers, Tobin. Disability Aesthetics. University of Michigan Press, 2010. Siebers, Tobin. “Disability Aesthetics and the Body Beautiful: Signposts in the History of Art.” Das Altertum, vol. 2, no. 4, 2008, pp. 329-36. Steinhauer, Jillian. “Lynn Hershman Leeson: The Artist Is Prescient.” The New York Times, 8 July 2021, www.nytimes.com/2021/07/08/arts/design/hershman-leeson-review-art-museum.html. Stiles, Kristine. “Landscape of Tremors: Lynn Hershman Leeson, Toward an Intellectual History.” Civic Radar: Lynn Hershman Leeson, edited by Peter Weibel, Hatje Cantz, 2016, pp. 132–40. Teknolust. Directed, Written, Edited, Produced by Lynn Hershman Leeson, performances by Tilda Swinton, 2002. Tromble, Meredith, and Kyle Stephan, editors. The Art and Films of Lynn Hershman Leeson: Secret Agents, Private I. 1st ed., University of California Press, 2005. Weibel, Peter. “The Work of Lynn Hershman Leeson: A Panoply of Identities.” Civic Radar: Lynn Hershman Leeson, edited by Peter Weibel, Hatje Cantz, 2016, pp. 44–55.
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