I’m an artist and researcher. So I think a lot about art as research—when and how art and design practices count as knowledge, what happens when art collapses into other kinds of ideas, and how artists and designers work in an way. I’ve done on these topics.

For the last several years, I’ve been thinking a lot about adaptive and assistive technologies, prosthetics, and all the political and cultural ways we comprehend and represent disability. I run the web site, which is devoted to collecting and commenting on high- and low-tech augmentations and extensions, as well as re-framing discussions about the future of the body. Some of that material will be cross-posted here, but Abler is a singular project focused around those ideas.

I’m broadly interested in the of medicine and techno-science, and in the possibilities for artists to be outsider-collaborators among those cultures. I’m influenced by Claire Pentecost’s idea of the , one who consents to learn in public. So I seek out informal modes of learning, hacking, and experimentation; I also seek formal collaborations with specialists in science and technology, both to understand and extend the contours of acceptable questions in research paradigms. I want to make my own learning process transparent, and I embrace the entire gesture as an alternative to the argument-driven, overdetermined mode of so much specialized knowledge. And, yes, I’m trying to think about that from inside an academic context, at least for the moment.

Investigations and projects at various stages include: personal genomics; networked, low-tech architecture and user-designed adaptive tech; and prosthetics for invisible conditions (sensory processing disorders, for example, or PTSD).

I’m at Harvard, part of the program on at the Graduate School of Design and a fellow at the .


I’d love to hear from you— sarahendren [at] gmail

SH, Cambridge, Mass.