Rose Marie Arbour, Dossier | Féminin pluriel et féminismes en arts visuels au Québec on esse arts + opinions (http://esse.ca), 2013.
Katy Deepwell, “Digital Sampling: Ideas suggested by some women’s art practices from Europe, Australia, Canada and America” in Cutting Edge (The Women’s Research Group), ed., Desire by Design: Body, Territories and New Technologies (London, New York: I.B. Tauris & Co.), 1999.
Jools Gilson-Ellis, "Loa and behold: voice ghosts in the new technoculture" in Digital Creativity (UK: Routledge), Vol. 12, Issue 2, June 2001, pp. 77-88.
Cadence Kinsey, “Matrices of Embodiment: Rethinking Binary and the Politics of Digital Representation” in Signs, Vol. 39, No. 4, Summer (The University of Chicago Press), pp. 897-925, 2014.
Caroline Seck Langill, "Negotiating the hybrid: art, theory and genetic technologies" in AI & Society, Vol. 20, No. 1, January 2006 (Springer London), pp. 49-62.
Tanja Nusser, Wie Sonst Das Zeugen Mode War: Reproduktionstechnologien in Literatur und Film (Frieburg i.Br./Berlin/Wien: Rombach Verlag KG), 2011, pp. 149-151.
Ingeborg Reichle, Art in the Age of Technoscience: Genetic Engineering, Robotics, and Artificial Life in Contemporary Art (Wien/New York: Springer), 2009, various pages.
Ingeborg Reichle, Kunst aus dem Labor: Zum Verh ltnis von Kunst un Wissenschaft im Zeitalter (Vienna: Springer-Verlag, 2005).
Ingeborge Reichle, "Where Art and Science Meet: Genetic Engineering in Contemporary Art" in Kunst Texte, 2/2003; abridged and translated for Media Art Net.
Kim Sawchuk, "Biological Not Determinist: Nell Tenhaaf's Technological Mutations", feature essay in Parachute 75, July, August, Sept., 1994.
Edward Shanken, ed., Art and Electronic Media (London and New York: Phaidon Press), in section “Charged Environments,” 2009, pp. 96-119.
Helga Pakasaar, "Technology Cheated my Image Symposium," Windsor Review, Vol. 31 No. 1, Spring 1998.
