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Luckman, Susan, and Michelle Phillipov. "‘I’d (still) rather be a cyborg’: The artisanal dispositif and the return of the (domestic) goddess." International Journal of Cultural Studies 23, no. 4 (2020): 458–74. http://dx.doi.org/10.1177/1367877919899959.
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This article identifies the rise of a series of tropes around authenticity, retreat and celebration of the artisanal as they manifest around the growing popularity of cooking and craft as activities that have become vehicles for a larger reimagining of ideal middle-class modes of living across much of the Global North. Through media examples of cooking and craft that valorise nostalgia and ‘dropping out’, and following McRobbie’s work on the creativity dispositif, we argue that these cultural practices are united by an artisanal dispositif that fetishises the ‘traditional’ in a context of intensified mediatisation. We revisit Haraway’s iconic text – ‘A cyborg manifesto’ – to identify what is at stake in the ‘return’ of the artisanal and its ongoing tensions between the technological and the traditional. We argue that rather than retreat, to quote more recent work by Haraway we need to ‘stay with the trouble’ in all its complexity.
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Yu, Shiqi. "„More human than human?“ Eine vergleichende Analyse zur Cyborg-Figur und Leib-Seele-Dichotomie in den Filmen „Blade Runner (1982)“ und ”Blade Runner 2049 (2017)”." Studia Germanica Posnaniensia, no. 42 (August 1, 2023): 253–67. http://dx.doi.org/10.14746/sgp.2022.42.16.
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Aus einer doppelten Dezentrierung wird das posthumane Subjekt als Alternative zum traditionellen Subjekt verstanden, welches seit der Aufklärung als liberal-humanistisches Subjekt (d.h. rational und autonom) definiert wird, und muss nicht nur den Anthropozentrismus beseitigen, sondern sich auch von der individualisierten, auf das Bewusstsein zentrierten Sicht des Subjekts lösen. In den zwei ausgewählten dystopischen Science-Fiction-Filmen Blade Runner (1982) und Blade Runner 2049 (2017) wird die aus Donna Haraways Manifest stammende Figur des Cyborgs behandelt und als neue Deutungsmöglichkeit von der menschlichen Existenz betrachtet. Die mediale Adaption des Posthuman-Motivs macht den Körper selbst zum Grenzgänger und ermöglicht das Auflösen der Grenzen. Unter Fokussierung der filmischen Darstellung der Menschmaschinen und Maschinenmenschen, soll die Verflechtung von Mensch, Technik und Geschlecht, sowie das existentielle Dilemma analysiert werden, da die Frage letztendlich auf eine filmische Inszenierung von Dualismus der unsterblichen Seele und des unfruchtbaren Körpers (Reproduktion des Cyborg-Körpers) rekurriert.
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Dehnert, Marco, and Rebecca Leach. "Becoming Human? Ableism and Control in Detroit: Become Human and the Implications for Human-Machine Communication." Human-Machine Communication 2 (January 15, 2021): 137–52. http://dx.doi.org/10.30658/hmc.2.7.
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In human-machine communication (HMC), machines are communicative subjects in the creation of meaning. The Computers are Social Actors and constructivist approaches to HMC postulate that humans communicate with machines as if they were people. From this perspective, communication is understood as heavily scripted where humans mindlessly apply human-to-human scripts in HMC. We argue that a critical approach to communication scripts reveals how humans may rely on ableism as a means of sense-making in their relationships with machines. Using the choose-your-own-adventure game Detroit: Become Human as a case study, we demonstrate (a) how ableist communication scripts render machines as both less-than-human and superhuman and (b) how such scripts manifest in control and cyborg anxiety. We conclude with theoretical and design implications for rescripting ableist communication scripts.
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Latimer, Joanna. "Review: Donna J Haraway, Manifestly Haraway: The Cyborg Manifesto, The Companion Species Manifesto, Companions in Conversation (with Cary Wolfe)." Theory, Culture & Society 34, no. 7-8 (2017): 245–52. http://dx.doi.org/10.1177/0263276417735160.
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In this review of Donna J Haraway’s book, Manifestly Haraway, that brings together The Cyborg Manifesto, The Companion Species Manifesto and Companions in Conversation (with Cary Wolfe), the author aims to show how Haraway’s work taken together is inspiring and revolutionary, offering us a basis for thinking differently about how we can intervene in dominant power relations in ways that are not simply critical but constructive of new ways of doing and being a social scientist. Like Foucault before her, Haraway offers not just exceptional tropes to think with – the cyborg, the companion species – but practices, ways of thinking and writing and relating, through which to make knowledge, and remake worlds. Making kin, becoming-with – not post-humanism but compost – these are the messages of her manifestos for doing our theorizing and our researching differently.
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Aboubacar, KONE. "Cyborgism And Social Enhancement: Shaping A New Rhetoric for Woman’s Participation in Contemporary Society as Represented in William Gibson’s Neuromancer (1984)." International Journal of Social Sciences and Humanities Invention 10, no. 12 (2023): 8060–65. http://dx.doi.org/10.18535/ijsshi/v10i12.01.
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In A manifesto for Cyborgs: Science, technology, and socialist feminism in the 1980s (2015), Australian scholar Donna Haraway develops a new feminist philosophy based on the possibilities offered by the cyborg, a cybernetic hybrid organism representing the coupling of organism and the machine, which is turned into an instrument for achieving all human aspirations. Drawing from this vision, we show through the study of Neuromancer (1984) by American writer William Gibson, that the trajectory of Molly Million, Gibson’s female protagonist is consistent to the cybor figure, and as such it is instrumental to the emancipation of contemporary woman’s life.
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Zhou, Ziqing. "Revisiting Haraway's Cyborg Myth: A Case Study of Female Cyborg Characters in Marvel Comics." Transactions on Social Science, Education and Humanities Research 10 (August 29, 2024): 131–36. http://dx.doi.org/10.62051/y1dcwq44.
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This paper revisits Donna Haraway's Cyborg Myth through a case study of female cyborg characters in Marvel Comics. Haraway's Cyborg Manifesto presents the cyborg as a hybrid entity that challenges traditional boundaries of gender, identity, and technology, offering a framework for feminist theory and posthumanism. By analyzing characters such as Misty Knight, Jocasta, and Lady Deathstrike, this study explores how these figures embody or challenge the cyborg myth and its feminist implications. The analysis reveals the nuanced portrayals of female cyborgs in Marvel, highlighting themes of empowerment, identity, and technological integration. This study contributes to the understanding of cyborg representation in popular culture and its relevance to contemporary feminist discourse.
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Angus, Tim, Ian Cook, and James Evans. "A Manifesto for Cyborg Pedagogy?" International Research in Geographical and Environmental Education 10, no. 2 (2001): 195–201. http://dx.doi.org/10.1080/10382040108667439.
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Cahyo, Pujo Sakti Nur, and Riyan Evrilia Suryaningtyas. "WOMAN AND TECHNOLOGY: A STUDY ON GENDER PORTRAYAL OF A FEMALE CYBORG IN GHOST IN THE SHELL (2017) MOVIE." Lire Journal (Journal of Linguistics and Literature) 4, no. 1 (2020): 26–39. http://dx.doi.org/10.33019/lire.v4i1.65.
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This study aims to analyze gender portrayal in Ghost in the Shell (2017) movie by applying Donna Haraway’s concept of cyborgs as in her Cyborg Manifesto. Focusing on the analysis of narrative and non-narrative elements, this research seeks to reveal how the main character is portrayed as a female cyborg. As a result, the writers found that her shifting existence as a female cyborg in the movie is the representation of how women can be the subject by affiliating with technology. The assumption of women as the "object" of technology is no longer exist, and they are competent to have a career in technology. As a conclusion, this movie promotes the idea of women empowerment in technology by the affiliation of women and technology.
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Simon, Sunka. "Woman as Biocontrol: Rereading Donna Haraway through German Science Fiction." Women in German Yearbook: Feminist Studies in German Literature & Culture 24, no. 1 (2008): 119–41. http://dx.doi.org/10.1353/fgs.2008.a254028.
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This article critically juxtaposes Donna Haraway's concept of the feminist cyborg with the remote controlled female cyborg figure in the 1984 German science fiction short story "Biocon" by Reinmar Cunis. It shows how both authors investigate their current societies' adaptation of the cyborg as a figure through which female sexuality and the disavowed fears and desires around self-engendering technology can be "both exorcized and reaffirmed" (Huyssen 81). In their writings, Cunis and Haraway demonstrate the continued sway that this structural paradox holds. Both are deeply committed to analyzing and representing the inequalities, anxieties, contradictions and potential of mass culture in the 1980s. Rereading Haraway's influential "Manifesto for Cyborgs" through Cunis's German SF-scenario helps to highlight the different role recent national history plays in both cyborg manifestations. It shows how, all attempts to the contrary, postwar German society employs the production of hybrids and the conceptualization of hybridity as a means to purification. (SS)
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Cox, Lara. "Decolonial Queer Feminism in Donna Haraway's ‘A Cyborg Manifesto’ (1985)." Paragraph 41, no. 3 (2018): 317–32. http://dx.doi.org/10.3366/para.2018.0274.
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This article explores the queer qualities of feminist scientist Donna Haraway's ‘A Cyborg Manifesto’ (1985). In the first part, the article investigates the similarities between ‘A Cyborg Manifesto’ and the ideas circulating in queer theory, including the hybridity of identity, and the disruption of totalizing social categories such as ‘Gay man’ and ‘Woman’. In the second part, it is argued that ‘A Cyborg Manifesto’ evinced a decolonial feminist form of queerness. The article references the African-American, Chicana and Asian-American feminist sociology, theory, literature and history that ‘A Cyborg Manifesto’ takes up. The article does not wish to position Haraway's white-authored text as an authoritative voice on decolonial feminist queerness, instead arguing for the role of ‘A Cyborg Manifesto’ as a bibliographical work that readers may reference in their exploration of decolonial feminist beginnings of queer theory.
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Liu, Yuqi. "Cyborgs, Feminism and Films in the Postmodernist Perspective: An Analysis of the Film Titane." Communications in Humanities Research 22, no. 1 (2023): 156–62. http://dx.doi.org/10.54254/2753-7064/22/20231675.
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The movie Titane, which won the Palme dOr at Cannes, caught the attention of the general public as a genre film that explores topics such as the family of origin, mechanical life, gender boundaries, and moral turmoil, to name a few. There are a number of points in the film that are close to Haraways assumptions in the Cyborg Manifesto, and this study is about to analyze its narrative textual content and significance from a postmodernist perspective, with a particular focus on postmodernist cyborgs, feminism, and cinematic works. It integrates postmodernist theories to analyze the narrative content, revealing the deconstruction of gender identity and the process of cyborg construction. The study engages in different dimensions of analysis as two parts: the first part is narrative analysis of the film on the theme of human-machine reproduction and life, the fluidity of identity politics; and the second part is the significant meaning of this film work in the postmodern perspective. It concludes that works of cyborg practice such as Titane are necessary for the postmodern key issues of present research and are far-reaching for the practice of cyborgs, feminism, and film culture. Furthermore, studying and interpreting the narrative and meaning of Titan serves as a secondary empowerment for the movie in itself.
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Azra Akhtar, Nighat Falgaroo, and Adil Hussain. "Beyond the Organic: Rupturing Maternal Constructs and Female Cyborg Identity in S.B. Divya’s <i>Machinehood</i>." Asiatic: IIUM Journal of English Language and Literature 18, no. 1 (2024): 85–98. http://dx.doi.org/10.31436/asiatic.v18i1.3213.
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This research paper delves into the nuanced portrayal of female cyborg identity and its intersection with motherhood in S.B. Divya’s novel Machinehood. Drawing inspiration from Donna Haraway’s foundational work “A Cyborg Manifesto,” we examine how Divya’s narrative navigates the complex interplay between technology and gender within the context of a futuristic society. Haraway’s concept of cyborgism serves as a theoretical framework to analyse the multifaceted nature of female cyborg characters in Machinehood. The paper explores how these characters negotiate the boundaries between the organic and the artificial, challenging traditional notions of femininity and motherhood. Haraway envisions the cyborg as a hybrid entity with the potential to subvert normative categories that becomes a lens through which we scrutinise the female cyborgs’ agency in shaping their identities and relationships. Central to our analysis is the examination of motherhood in the context of technological augmentation. In conclusion, the present paper aims to contribute to the evolving area of scholarship on science fiction literature, feminist theory, and cyborg studies. By leveraging Haraway’s ground breaking ideas, we illuminate the significance of female cyborg identity and its portrayal in Machinehood, shedding light on the transformative potential of technology in reshaping traditional gender norms and familial structures.
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P J, Arya, and Bhuvaneswari R. "Life and (non)Living: Technological and Human Conglomeration in Android Kunjappan Version 5.25." Studies in Media and Communication 11, no. 2 (2023): 58. http://dx.doi.org/10.11114/smc.v11i2.5943.
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In post-modern society, we (humans) share our space with machines. Though there is no doubt in the efficiency of the machines there is always a doubt in their reason. Machines being programmed cannot exercise reason like humans. Their assistance is limited to the commands designed by the engineer. The Malayalam movie Android Kunjappan Version 5.25 pictures the limitations and advantages of one such robotic creation. The movie narrates the tale of an old man and his association with a robot which becomes his solace and companion. The film questions the association between humans and machines. It raises the fear of constructing and destroying the boundaries between the machine world and the human world. This article attempts to use the concept of cyborg introduced by Donna Haraway in ‘Cyborg Manifesto’; though Haraway uses the concept of a cyborg from a Feminist perspective, the paper attempts to look at the relationship between man and machine using the concept ‘cyborg’. This fusion of the living and non-living is sceptical and this anxiety is presented in the film. The film also captured the naivety of the commoners who are new to the monstrous world of machines. The paper’s primary aim is to list how cyborgs transgress the limitations set by society. Another objective is to discuss the anxieties of the post-modern world when technology and life hold hands. The article considers the film a futuristic art that leaves a message to the viewers; cyborgs will become an inevitable facet of the human world.
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Nason, Dale. "Cyber Dada Manifesto." Leonardo 24, no. 4 (1991): 489. http://dx.doi.org/10.2307/1575540.
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Stephanie Peebles Tavera. "Utopia, Inc.: A Manifesto for the Cyborg Corporation." Science Fiction Studies 44, no. 1 (2017): 21. http://dx.doi.org/10.5621/sciefictstud.44.1.0021.
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Orr, Jackie. "Materializing a Cyborg’s Manifesto." WSQ: Women's Studies Quarterly 40, no. 1-2 (2012): 273–80. http://dx.doi.org/10.1353/wsq.2012.0008.
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Cheung, William. "Donna Haraway: Manifestly Haraway. The Cyborg Manifesto. The Companion Species Manifesto. Companions in Conversation (with Cary Wolfe). Minneapolis: U of Minnesota P, 2016. (Posthumanities 37). 360 pp." arcadia 52, no. 1 (2017): 267–69. http://dx.doi.org/10.1515/arcadia-2017-0021.
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Tembo, Kwasu D. "Death, Innocence, and the Cyborg: Theorizing the Gynoid Double-Bind in Mamoru Oshii’s Ghost in the Shell II: Innocence." American, British and Canadian Studies 29, no. 1 (2017): 103–25. http://dx.doi.org/10.1515/abcsj-2017-0021.
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Abstract In Donna Haraway’s “A Cyborg Manifesto” (1983), the author presents a discussion of the concept and praxis of the cyborg in emancipatory terms. Haraway presents the cyborg as a transgressive and latently mercurial figure that decouples and contravenes numerous exploitative ideological frameworks of repressive biopower that repress human being and reproduce the conditions of said repression. Using Mamoru Oshii’s Ghost in the Shell II: Innocence (2004) as a dialogic case study, this essay explores the manner in which the cyborg, particularly its figuration as female-gendered anthropic machine or gynoid in 20th- and 21st-century science fiction, simultaneously confirms and contradicts Haraway’s assessment of the concept of the cyborg. As to its methodology, this essay opens with a contextualizing excursus on the cyber-being in contemporary Western society and sociopolitics, with a view to offering a framework analysis of the figuration of the gynoid in Oshii’s Ghost in the Shell II: Innocence as a recent example of contemporary science fiction’s representation of the issues and debates inherent to the concept of the gynoid. Lastly, this essay performs a detailed close reading of Oshii’s text in relation to its exploration of themes of the conceptual emancipatory potential of the cyber-being and the paradoxically exploitative patriarchal power relations that re-inscribe said potential within what this essay refers to as ‘the gynoid double-bind.’
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Apriliani, Defina Dwi, and Mohammad Zaimil Alivin. "DIFFERENT CONCEPTS OF CYBORGS IN KAZUO ISHIGURO’S KLARA AND THE SUN." PARADIGM: Journal of Language and Literary Studies 7, no. 2 (2024): 88–99. https://doi.org/10.18860/prdg.v7i2.29423.
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This study aims to find the difference between the representation of Klara's character and the concept of Cyborg Manifesto by Donna Haraway in the novel Klara and the Sun by Kazuo Ishiguro. This research discusses how Klara engages in the traditional organic family concept without an Oedipal project, without psychological dynamics such as conflict or emotional dependence on parental figures as in humans. It also explores how Klara remains respected despite having no awareness or understanding of the cosmos, a spiritual or philosophical perspective on the universe that is often the basis of human existence. The approaches used are posthumanism and cyborg theory, which highlight the boundary between humans and machines. The results showed important differences in the representation of Klara. This paper finds that Klara, although a cyborg, was able to form deep emotional bonds with humans and was respected for her ability. This is contrary to Haraway's concept that cyborgs are not bound by family structures and are not rewarded for their connection to the environment or cosmos. This analysis contributes to enriching the study of human-technology relations and identity dynamics in the context of posthumanism.
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Salsabila, Wahdah Kamelia, and Pujo Sakti Nur Cahyo. "TECHNOLOGY-ENABLED HEROINE: AN ANALYSIS ON WOMAN CYBORG IN ALITA: BATTLE ANGEL FILM." PARADIGM: Journal of Language and Literary Studies 7, no. 2 (2025): 113–27. https://doi.org/10.18860/prdg.v7i2.29294.
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This study closely examines the character of Alita in the film Alita: Battle Angel to determine whether she represents women’s empowerment. Heroines are often portrayed as powerful and independent figures who challenge traditional gender roles. To analyze Alita's character, this study utilizes Greimas' actantial model of narrative structure and Donna Haraway’s concept of the cyborg from A Cyborg Manifesto. Greimas' model helps dissect the narrative roles and relationships, while Haraway's concept aids in understanding the intersection of technology and gender. The analysis reveals that Alita embodies certain elements of women’s empowerment. She displays physical strength, resilience, and a sense of autonomy that are typically associated with empowered female characters. Alita's journey of self-discovery and her fight against oppressive forces resonate with themes of independence and empowerment. However, a deeper examination of the film's narrative structure and character dynamics uncovers underlying patriarchal elements. Despite Alita's strengths, the film presents a technological hierarchy where male characters, particularly Dr. Dyson Ido and Vector, hold significant control and influence over Alita and other female characters. This dynamic suggests that while Alita is portrayed as a powerful figure, her agency is still constrained within a male-dominated technological framework. Furthermore, the film's depiction of Alita as a cyborg complicates the narrative of empowerment. Haraway's cyborg theory suggests that cyborgs can transcend traditional gender boundaries and challenge patriarchal structures. Yet, in Alita: Battle Angel, the cyborg nature of Alita is used to emphasize her otherness and dependence on male characters for her identity and purpose. This reinforces traditional gender hierarchies rather than subverting them.
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Gane, Nicholas. "When We Have Never Been Human, What Is to Be Done?" Theory, Culture & Society 23, no. 7-8 (2006): 135–58. http://dx.doi.org/10.1177/0263276406069228.
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This interview reconsiders Donna Haraway’s Cyborg Manifesto 21 years after it was first published. It asks what has become of the three boundary breakdowns around which the Manifesto was structured - those between animals and humans, animal-humans (organisms) and machines, and the ‘physical and non-physical’. Against this backdrop, this interview examines the connection between the Cyborg Manifesto and Haraway’s more recent writings on companion species, along with what it means to read or write a ‘manifesto’ today. Recent notions of the ‘posthuman’ are also placed into question.
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Steinmann, Brigitte. "Donna Haraway, Manifeste cyborg et autres essais. Sciences, fictions, féminismes." L'Homme, no. 187-188 (October 3, 2008): 479–81. http://dx.doi.org/10.4000/lhomme.20592.
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Sanna, Maria Eleonora. "Donna Haraway, Manifeste cyborg et autres essais. Sciences – Fictions – Féminismes." Clio, no. 32 (December 31, 2010): 291–93. http://dx.doi.org/10.4000/clio.9952.
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SCHUURMAN, NADINE. "Women and technology in geography: a cyborg manifesto for GIS." Canadian Geographer/Le Géographe canadien 46, no. 3 (2002): 258–65. http://dx.doi.org/10.1111/j.1541-0064.2002.tb00748.x.
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Spencer, Cara, Kelsey Loehr, and Abby Byrd. "Patient and Family Perpetrated Cyber-Incivility and Cyber-Aggression Within Healthcare: A Cross-Sectional Descriptive Study." SAGE Open Nursing 9 (January 2023): 237796082311589. http://dx.doi.org/10.1177/23779608231158970.
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Introduction Verbal violence may manifest in written form as cyber incivility within patient portal communications. As a form of digital technology, patient portal messages create a physical and emotional distance leading the sender to be disinhibited and disassociated from the recipient nurse. Written patient portal messages may contain uncivil language deemed verbally violent when the content escalates beyond professional standards. When these messages are encountered as part of patient care, they may lead to nurses’ psychological distress. Although cyber-incivility has been studied within social media and business, little is known about cyber-incivility within healthcare. Objectives The purpose of the study was to define cyber-incivility as it manifests within healthcare compared to business, determine sender demographics, and quantify the impact on nurses. Methods A cross-sectional descriptive study was conducted to analyze portal communications. Nurses forwarded aggressive messages to leadership and quantified their level of distress after receiving the message. Sender demographics were tracked, and content was analyzed using Braun and Clarke's Thematic Analysis. Results Of the 31 included messages, senders were of varying ages, genders, and marital statuses. Messages rarely related to medications and rarely contained expletives. The most distressing messages were ad hominem, demanding, accusatory, or contained threats. These messages illustrated how healthcare cyber-incivility manifested and deviated from appropriate professional standards to become a form of verbal workplace violence. Message content also identified antecedents; related to unmet expectations, patient accountability, or difficulty navigating healthcare. Conclusions Written incivil/uncivil/aggressive patient portal messages contained personal attacks and professionally degrading content, which were distressing to nurses. A healthcare-specific framework was created and provided context to understand the difficult and aggressive messages nurses received while providing digital patient care. Awareness of cyber-incivility within healthcare allows for better support of nurses who are exposed to this form of workplace violence and is foundational to future intervention development.
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Dalvin, Nesie. "Limitations of Cyborg feminism in India and Misinterpretation of feminism in Western Cyborg science fiction movies in the light of Haraway’s The Cyborg Manifesto." Journal of Humanities and Education Development 5, no. 3 (2023): 01–04. http://dx.doi.org/10.22161/jhed.5.3.1.
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In the light Donna Haraway’s work The Cyborg Manifesto this paper analyses the difficulties of adapting Cyborg model of feminism in a developing country like India. Initially the concept of cyborg feminism (Bell, 108) as introduced by Haraway is used to analyse the implicit ideology of Western cyborg science fiction movies. Through the analysis of popular western cyborg movies like Alita: Battle Angel (2019) and Blade Runner 2049 (2017), the absence of gender duality in cyborg world as predicted by Donna Haraway is proved wrong. Later the concept of cyborg feminism in the present society is shown to be inadequate showing the glass ceiling effect and how technology is sided with patriarchy. Finally the limitation of Cyborg feminism especially in a third world country like India is revealed considering its historical, political and cultural diversity. Socialist feminism and identity politics is more essential in the present society than a foreseeing women’s liberation in a technically developed future.
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Gardey, Delphine. "Au cœur à corps avec le Manifeste Cyborg de Donna Haraway." Esprit Mars/avril, no. 3 (2009): 208. http://dx.doi.org/10.3917/espri.0903.0208.
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Kumar, Anil. "Contesting Subjectivity: A Posthuman Perspective in Margaret Atwood’s The Year of The Flood." International Journal of Language, Literature and Culture 4, no. 4 (2024): 30–36. http://dx.doi.org/10.22161/ijllc.4.4.4.
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The COVID-19 pandemic has challenged the anthropocentric position in which human being assumed itself as the forerunner of the civilization and to rest, whether it is nature or any form of life, he believed, as a subject of domination. Feminist school of criticism according to Black feminist Kimberlé W. Crenshaw identifies patriarchy as one of these structures which dehumanizes females on the basis of Intersectionality. The intersectional positions, according to her, divide human beings from one another based on their identity of colour, gender, religion and so on. In this context, the paper studies Margaret Atwood’s representation of intersectional positions in the novel, The Year of the Flood(2009) where she categorically prompts on the issue of gender politics on one part and on the other she hints upon decoding the politics of subjective identity through the genetically modified Crakers who appears to be giving the reflection of what Donna Haraway calls as ‘cyborg’. The Crakers, in the novel, are genetically modified humanoids that indicate human beings as a reflection of engineered machines which gets swiped away by pandemic called “waterless Flood”. The paper demystifies idea of identity politics through the concept of ‘cyborg myth’. Cyborg myth according to Donna Haraway, terms human as evolutionary form in which, “We are all chimeras, theorized and fabricated hybrids of machine and organism; in short, we are cyborgs” (“A Cyborg Manifesto” 150). In order to highlight the uncanny politics of identity she takes charge to redefine the social functioning of human beings through the scientific progress in which the construction and reconstruction of human identity is played out.
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Dydrov, Artur A., and Regina V. Penner. "Digital Anthropology Manifesto." Galactica Media: Journal of Media Studies 6, no. 2 (2024): 17–51. http://dx.doi.org/10.46539/gmd.v6i2.466.
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The manifesto format was not chosen by chance. As a rule, manifestations are not acceptable in the scientific community and are practiced to proclaim a new order of things. Historically, social groups have declared their intentions in manifestos of various kinds. This circumstance is also true for contemporary cases such as manifestos of cyborgs, hackers, “Evolution 2045”, etc. Digital anthropology as a subject of manifestation looks anomalous, since it is not related to the interests of a specific social group or force. The intentions of the authors of this manifesto are to proclaim an alternative to the scientific research mainstream. The subject area and thesaurus of digital anthropology historically began to take shape in the Western countries. Due to qualitative and quantitative empirical research, the network has become a kind of analogue of a “field” for the study of behavioral practices, the specifics of thinking, and mythology that makes its way into virtual communication and Internet content. In an attempt to maintain ideological continuity with ethnographic and field research, digital anthropology ignored the conceptual and generalizing statement about a person. The latter was formed in the discourse of philosophical anthropology, not only a historical philosophical movement, but also a current field of knowledge that produces reflexive generalized knowledge about human beings. In the manifesto, the subject of digital anthropology is significantly clarified, and its definition is also given as a result of the reassembly of the subject.
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Yumartov, Dmitry A. "The Concept of Political Myth in Philosophy of Donna Haraway." Alma mater. Vestnik Vysshey Shkoly, no. 10 (October 2022): 44–49. http://dx.doi.org/10.20339/am.10-22.044.
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The article examines the concept of “political myth” in Donna Haraway’s essay “A Cyborg Manifesto”. Based on Haraway’s ontology on the material-semiotic unity and interconnection, it’s argued that she understands the political myth as a semantic interpretation of material and social reality, which later becomes a collective consciousness and transforms (customizes) reality for itself. Two types of political myths are distinguished in Haraway’s philosophy. Firstly, these are the myths of the past, hidden and unconscious identities (concept of man, woman, nature, culture, objectivity), where subjects with mythical mind do not reflect myth authenticity. Secondly, the new myth about a cyborg as a creature with no boundaries of human, animal and machine, with blurred lines of gender, racial and other relevancy. A cyborg is understood as, on the one hand, figure that arises and does not exist in reality, on the other hand, as figure that needs to be handled as a reality now for the actual (material) implementation of cyborgization in the future. If Haraway’s views on the “myths of the past” are fully consistent with the concept of political myth in R. Bart, E. Cassirer or C. Flood as an irrational collective image that hides its elusive elements, but the myth of cyborgs is consciously and openly staged by its own heroes, who solidarize with each other with the idea of opposing every forms of rooting and manipulative totalization, who understand their being inside the myth and work together to make it a reality, which brings Haraway’s concept closer to Georges Sorel’s concept of a political myth.
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Shields, Rob. "Flânerie for Cyborgs." Theory, Culture & Society 23, no. 7-8 (2006): 209–20. http://dx.doi.org/10.1177/0263276406069233.
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As a literary figure or conceit, Haraway’s cyborg is kin to Dumas’ and Balzac’s flâneur. As a social science fiction, crossing and mixing categories, the cyborg is an abject quasi-body who does not fit the Enlightenment model of the political subject and actor. The ‘Manifesto’ has a geography of sites - Home, Market, Paid Work Place, State, School, Clinic-Hospital and Church - which this article updates and to which it adds the Body and the Web. However, Haraway’s ‘cyborg-analysis’ directs attention to the nanotechnological scale of biotechnology. The spatialization implied in the ‘Manifesto’ is more like a surface, a site of regeneration, not a space of the body or of rebirth or the space of institutions such as the Market or School. The cyborg cannot be an Enlightenment political actor, but challenges the traditions, scale and space of the public sphere even as she carries ethical qualities and potentials for less normative forms of politics.
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Damour, Franck. "Le cyborg est-il notre avenir ?" Études Tome 411, no. 11 (2009): 475–84. http://dx.doi.org/10.3917/etu.115.0475.
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Résumé A la différence du robot, le cyborg est un être hybride, mixte d’humain et de machine. La technicisation accélérée du corps, par la multiplication des prothèses, par l’impact des nouvelles technologies de communication, multiplie questions et défis que l’auteur analyse à travers l’étude d’un texte fondateur, le Manifeste cyborg de Donna Haraway.
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Hayles, N. Katherine. "Unfinished Work." Theory, Culture & Society 23, no. 7-8 (2006): 159–66. http://dx.doi.org/10.1177/0263276406069229.
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The cyborg that Donna Haraway appropriated in ‘Manifesto for Cyborgs’ as a metaphor for political action and theoretical inquiry has ceased to have the potency it did 20 years ago. While Haraway has turned from a central focus on technoculture to companion species, much important cultural work remains to be done, especially in networked and programmable media. Problems with the cyborg as a metaphor include the implication that the liberal humanist subject, however problematized by its hybridization with cybernetic mechanism, continues as a singular entity operating with localized agency. In a word, the cyborg is not networked enough to encompass the emergent possibilities associated with the Internet and the world-wide web and other phenomena of the contemporary digital era. Instead I propose the idea of the cognisphere. As operational concept and suggestive metaphor, the cognisphere recognizes that networked and programmable media are not only more pervasive than ever before in human history but also more cognitively powerful. It is closely associated with what many researchers regard as a major insight: the idea that the physical world is fundamentally computational. While these scientists regard computation as a physical process, the cultural critic is apt to see it as an over-determined metaphor. The binary choice between seeing the computational universe as a literal description of the physical world and reading it as an over-determined metaphor misses a crucial aspect of contemporary cultural dynamics: the interaction between means and metaphor, technology and cultural presupposition. Taking this dynamic into account leads to a more complete understanding summed up in the aphorism, ‘What we make and what (we think) we are co-evolve together.’
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Dr., G. Surya. "RESONATING CYBERFEMINST MANIFESTO WITH REFERENCE TO THE WITCHER 3: WILD HUNT." International Journal of Interdisciplinary Research in Arts and Humanities (IJIRAH) 7, no. 2 (2022): 4–8. https://doi.org/10.5281/zenodo.6791236.
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Cyberfeminism is a postmodern concept that emphasizes the relationship between cyberspace, the Internet, and technology. It describes an international, unofficial group of female thinkers, coders, video gamers, and media artists who began connecting online. The rationale of this research paper is to examine how women are treated in video games and to examine the perspectives of Cyberfeminism in The Witcher 3: Wild Hunt. Gender stereotypes and intensive gender normative policing are common in online games, which are often characterised by gender preconceptions and intense gender normative policing by both players and developers. It follows the Cyberfeminist idea, which sees technology as a liberating force for women. Technology empowers women by allowing them to express their ideas and assisting in the development of new business models that require them to be rational, visionary, and practical to succeed. In cyberfeminism, the type of net utopianism declares that women have the freedom to be who they want to be.
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Franklin, Sarah. "The Cyborg Embryo." Theory, Culture & Society 23, no. 7-8 (2006): 167–87. http://dx.doi.org/10.1177/0263276406069230.
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It is useful on the occasion of the 21st anniversary of the ‘Cyborg Manifesto’ not only to reconsider its lessons in the context of what is frequently described as the re-engineering of ‘life itself’, but to look at Haraway’s earlier work on embryos. In this article I begin with Haraway’s analysis of embryology in the 1970s to suggest her cyborg embryo was already there, and has, if anything, gained relevance in today’s embryo-strewn society. I argue further, as the title suggests, that the cyborg embryo has been crucial in defining our path to what I am calling here, building on Haraway’s notion of trans from Modest_Witness, ‘transbiology’ - broadly meaning stem cell research, cloning, tissue engineering and regenerative medicine. To illustrate this argument I draw on recent ethnographic fieldwork in a new stem cell derivation facility in the UK built adjacent to an IVF surgery. Using this example, I explore the important and paradoxical role of IVF in the emergence of stem cell science, cloning and transbiology, suggesting that Haraway’s analysis remains crucial to understanding the ironic and contradictory, and unexpectedly generative, circumstances through which the IVF-stem cell interface - the door to transbiology - came into being.
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Haraway, Donna. "Manifeste Cyborg : Science, technologie et féminisme socialiste à la fin du XXe siècle." Mouvements 45-46, no. 3 (2006): 15. http://dx.doi.org/10.3917/mouv.045.21.
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Erica, Soares Silva, and Cardoso Andrade Emile. "Ciborgues são elas, alienígenas são os outros: reflexões sobre gênero e sci-fi em A mão esquerda da escuridão, de Ursula K. Le Guin." Via Litterae [ISSN 2176-6800]: Revista de Linguística e Teoria Literária 13, no. 1 (2021): 112–26. https://doi.org/10.5281/zenodo.5592333.
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<strong>Resumo</strong>: O embate da diversidade na produção e consumo de Ficção Científica apenas ganhou notoriedade no final dos anos 1960. Elementos como a representatividade feminina-feminista e as narrativas deslocadas dos dualismos hierárquicos, foram explorados nas obras de FC por escritoras como Ursula K. Le Guin. Neste seguimento, o presente estudo discute as relações de alteridade na produção de Ficção Científica por autoras mulheres e como o romance <em>A mão esquerda da escuridão</em> de Ursula K. Le Guin (2019) manifesta as ideias do mito ciborguiano defendidas por Donna Haraway (2019). Nesse sentido, analisa-se as (dis)similaridades do ciborgue relacionadas tanto às personagens quanto à escritora de <em>sci-fi</em>, pelo viés das teorias feministas, da filosofia ciborgue e dos estudos pós-modernos de gênero. <strong>Palavras-chave</strong>: Ficção Científica. Ciborgue. Autoras mulheres. <strong>Abstract: </strong>The clash of diversity in the production and consumption of Science Fiction only gained notoriety in the late 1960s. Elements such as feminine-feminist representation and narratives displaced from hierarchical dualisms, were explored in the works of FC by writers like Ursula K. Le Guin. In this pursuance, this study discusses the relations of otherness in the production of Science Fiction by female authors and how the novel The Left Hand of Darkness by Ursula K. Le Guin (2019) manifests the ideas of the Cyborg myth advocated by Donna Haraway (2019). In this sense, we analyze the (dis) similarities of the cyborg narratives both to the characters and to the sci-fi writer, through the bias of feminist theories, cyborg philosophy and postmodern gender studies. <strong>Keywords: </strong>Science Fiction. Cyborg. Female Authors.
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Lei, Shiyu. "Cyber, Body, and Communication." Lecture Notes in Education Psychology and Public Media 40, no. 1 (2024): 219–27. http://dx.doi.org/10.54254/2753-7048/40/20240757.
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The emerging phenomenon of virtual idols, a product of the technological era, has gradually become a new segment in the idol market. In the cyber world, the embodiment of virtual idols is primarily manifested in five aspects: world body, social body, political body, consumer body, and medical body. As a representative product of cyborgs, virtual idols connect their own bodies to the cyber world through scientific and technological means. Due to the unique composition of virtual idols, they project reality into the cyber world and construct the world body of virtual idols through interaction with fans. In the cyber world, fans and virtual idols communicate through the internet, creating an exclusive society for virtual idols and fans. During the process of social interaction, they continuously construct the social body of virtual idols. Simultaneously, based on the distinctive attributes of the virtual idol group A-SOUL, the political body of virtual idols is jointly constructed by the two-dimensional images in the cyber world and the avatars engaging in real-time interaction with fans. The continuous fusion of fans and virtual idols transforms both parties from mere producers and consumers, constructing the consumer body of virtual idols. As representatives of cyborgs, virtual idols reveal the diverse extensions of the body in the cyber world, providing new pathways for the construction of the medical body in the technological era. The construction of the body by virtual idols in cyberspace offers new pathways and insights for the construction of the body in the technological age.
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Walker-Jones, Arthur. "Eden for Cyborgs: Ecocriticism and Genesis 2–3." Biblical Interpretation 16, no. 3 (2008): 263–93. http://dx.doi.org/10.1163/156851508x288977.
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AbstractThis article begins by introducing the work of a leading feminist theorist, Donna Haraway, especially her classic article, "A Manifesto for Cyborgs," and its relevance for ecocriticism of the Hebrew Bible. Building on the work of Hilary Klein, Haraway argues that Marxism, feminism and technoscience often work out of origin stories that reinscribe the dualisms that feminists seek to overcome. She refers to all contemporary origin stories as Eden stories. Her analysis of Jane Goodall's work at Gombe is an example. Haraway seeks myths or figures that blur the boundaries between the dualisms that structure oppression, and that may help imagine a more livable future. Much of her work is with "monsters" because they often define the limits of community in Western culture. For instance, although the cyborg has its origin in a horrible myth of patriarchal capitalism about destruction of Earth and escape into space, she suggests the cyborg has the potential to subvert its origin because it blurs the boundaries between humanity and nature and redefines both. The serpent in the Garden of Eden story is such a boundary transgressing monster. It blurs the boundaries between God and nature, and humanity and nature. With the help of the snake, the humans acquire the discernment to fulfill their preordained vocation to serve and protect Earth and choose reality and full humanity with all its ambiguities. An interpretation of the story that focuses on the serpent could decenter heterosexist and anthropocentric readings and serve as a subversive figure for the future of the Earth community.
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Hsu, Aurie, and Steven Kemper. "Enacting Sonic-Cyborg Performance through the Hybrid Body in Teka-Mori and Why Should Our Bodies End at the Skin?" Leonardo Music Journal 29 (December 2019): 83–87. http://dx.doi.org/10.1162/lmj_a_01069.
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In “A Cyborg Manifesto,” Donna Haraway explores implications of the increasing hybridization of humans and machines. While society has long been concerned with the encroachment of technology onto human activity, Haraway challenges this concern, suggesting instead a kinship between organism and machine, a hybrid body. A sonic-cyborg performance realizes this understanding of the human-machine hybrid through movement and sound, incorporating a “kinesonic” approach to composition and an exploration of “mechatronic” expression. In this article, the authors describe their approach to enacting sonic-cyborg performance by outlining the creative framework and associated technologies involved in two collaborative pieces that explore questions of fluidity between organism and machine: Teka-Mori and Why Should Our Bodies End at the Skin?
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Tordo, Frédéric. "Cybersexualité. De la trans@sexualité aux métamorphoses de l’identité de genre sexuel." psychologie clinique, no. 49 (2020): 16–28. http://dx.doi.org/10.1051/psyc/202049016.
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La cybersexualité concerne une sexualité qui utilise les outils technologiques. Plusieurs formes peuvent être décrites (cybersexualité proprement dite, cybersexualité passive, cybersexualité interactive, cybersexualité connectée et techno-sexualité). Pourtant, une autre forme cybersexuelle advient, liée aux nouveaux usages de la technologie qui privilégient une traversabilité permanente entre la réalité physique et la réalité numérique. Elle est nommée par l’auteur comme Trans@sexualité, décrite comme une sexualité hybride et transitionnelle, qui fait pont entre cybersexualité (qui se déroule dans le cyber-espace) et sexualité incarnée (qui se déroule dans la réalité tangible). Au travers de cette hybridation, qui se manifeste en tant qu’une « hybridation psychique » – au travers de l’instance du Moi-cyborg (Tordo, 2019) – se déploie alors, suivant l’hypothèse de l’auteur, les transformations et les métamorphoses de l’identité contemporaine, à commencer par l’identité de genre. Plusieurs exemples cliniques sont proposés par l’auteur à l’appui de ces hypothèses.
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Haraway, Donna. "A manifesto for Cyborgs: Science, technology, and socialist feminism in the 1980s." Australian Feminist Studies 2, no. 4 (1987): 1–42. http://dx.doi.org/10.1080/08164649.1987.9961538.
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You, Seung-a. "Mapping Posthuman Body through Cyborg beings: Focus on Contemporary Korean Performance Art." Sookmyung Research Institute of Humanities 14 (June 30, 2023): 129–48. http://dx.doi.org/10.37123/th.2023.14.129.
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Mapping Posthuman body through Cyborg beings is a research project that examines the meaning of the posthuman through monster- like figures and cyborg beings, often used as symbolic representations of a cyborg in Korean performance art. The project manifests a critical view of transhumanism, which adheres to the same dichotomous division emphasized by humanism, and examines the posthuman being as “materially embodied, embedded in the environment, and intertwined with the world” as well as the ‘worlding-with’ method as a mode of posthuman existence. In particular, she turns to Donna Haraway's concept of the cyborg as the theoretical framework to explore how cyborg politics, which transcends the traditional, dichotomous thinking of the West and breaks down its boundaries, has developed within the trajectory of Korean art history. Research focuses on the bodies that get reconstructed at every moment within relationships by the act of blurring boundaries and suggests that we contemplate the meaning of our interactions with others and the sense of solidarity within the context of post- humanism in the post-COVID-19 era.
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Warren, Hannah V. "Monster of the Week: Manufactured by Machine, and: Rhythmic Chant." Colorado Review 50, no. 3 (2023): 7–10. http://dx.doi.org/10.1353/col.2023.a912425.
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Abstract: Through a lens of horror and abjection, “Rhythmic Chant” explores linguistic and identity development, from childhood to adulthood. “Manufactured by Machine” considers human subjectivity as linked to Donna Haraway’s A Cyborg Manifesto: when does the body slip from human to machine?
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Dortseva, E. V. "Intellectual manifestos of modern feminist sociologists." Moscow State University Bulletin. Series 18. Sociology and Political Science 28, no. 1 (2022): 88–109. http://dx.doi.org/10.24290/1029-3736-2022-28-1-88-109.
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The article is devoted to the analysis of the sociological work of famous researchers — Ann Oakley, Donna Haraway, Shulamit Firestone and Judith Butler, who worked within the framework of the feminist paradigm in sociology, which interprets social phenomena and processes from a femininocentric point of view. The work of these women sociologists has become a kind of intellectual manifesto — a written statement of the scientific principles of the feminist trend in sociology, based on the belief in the constant discrimination of women in all spheres of social life.Ie author analyzes the works of a bright representative of the liberal-reformist trend in feminism, Ann Oakley, whose scientific work is divided into four areas: “sex and gender”, “domestic work and family life”, “childbirth and medicine” and “sociology proper”. Exactly E. Oakley is considered the ancestor of the concept of “gender” in sociology. She divorced the concepts of “gender” (gender) as an unshakable biological attribute and as a cultural determinant that determines the conceptualization of “masculinity” and “femininity”.The article pays enough attention to one of the founders of cyberfeminism — a trend in modern feminist thought associated with the study of cyberspace, the Internet and information technology — Donna Jean Haraway, whose greatest fame was brought by the “cyborg theory”. A cyborg is a being whose borderline position at the intersection of the boundaries between nature and culture, body and mind, sex and gender, fact and fiction, serves as an argument for denying biological sex as a determinant of gender inequality in culture and society.A significant place in the article is occupied by the figure of Shulamit Firestone, one of the founders of radical feminism. Her works, based on the fusion of ideas borrowed from Marxism, feminism and psychoanalysis, carried out a subtle scientific analysis that allowed linking the structures of gender inequality and economic stratification, as well as environmental degradation and the policy of scientific knowledge. In a style that later became a hallmark of feminist works of the 1970s, Sh. Firestone showed clear and internal links between the generally accepted expression of heterosexuality, “forced femininity” and the institutionalization of gender inequality.At the end of the article, the author turns to the work of Judith Butler, a representative of poststructuralism, a specialist in the Jeld of phenomenology and theory of gender, who opposes the existentialist vision of the problems of personality and being, culture and general human physiology, the interdependence between gender and sexual relations.In general, the works of modern theorists of sociology and at the same time feminist sociologists have set new fields of sociological search, these feminist sociologists call for the construction of a new model of society, up to the establishment of a “new gender order” at the macro and micro levels of social life.
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Hoofd, Ingrid. "Xenofeminist Hope and Dread, or How to Move Beyond Patriarchal Technocapitalism." Hypatia 37, no. 1 (2022): 210–15. http://dx.doi.org/10.1017/hyp.2021.73.
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Who said manifestos are dead? Some thirty years after the publication of Donna Haraway's illustrious A Cyborg Manifesto (Haraway 1991), fifty years after Valerie Solanas's angry and delightful SCUM Manifesto (Solanas 1967), and 170 years after Karl Marx and Friedrich Engels's influential Communist Manifesto (Marx and Engels 1848), a new manifesto in town in fact bears traces of all these and then some: The Xenofeminist Manifesto. This manifesto, which comes in a gorgeously designed booklet version as well as in a colorful and nostalgic 80s computer-culture website with nerdy hexadecimal page numbers and related Twitter account, is a work from the “xenofeminist” collective Laboria Cuboniks. The name of this collective, whose members are from various parts of the globe, is actually an anagram of “Nicolas Bourbaki,” a largely French collective of mathematicians in the early 1900s who sought to affirm abstraction, rigor, and generalization (Laboria Cuboniks 2014). Together with a firm foot in cyberfeminism and a strong penchant for the abstract and universal by way of the logic of computing against the arguably flawed universal of “nature,” the manifesto also clearly bears the marks of feminist ecocriticism, new materialism, queer theory, and technological accelerationism. The two books under review bring various activisms and insights together in an original way, and do so clearly with an eye toward reviving the cyberfeminist spirit through, among others, ideas from Shulamith Firestone's Dialectics of Sex (Firestone 1970). This pairing certainly had me excited, since, as I argue elsewhere, I am, together with Haraway's original cyborg manifesto, firmly of the opinion that feminisms of all kinds should intervene in and contribute even more radically to contemporary techno-culture and philosophy of technology. This is because clearly, new media and genetic technologies are at present some of the most powerful techniques by which we live and probably will live in the near future, and because these technologies are intimately interwoven with Eurocentric masculinism, heterosexism, militarism, and capitalism (Hoofd 2016, 225, 229).
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Chandler, Katherine Fehr. "A Drone Manifesto: Re-forming the Partial Politics of Targeted Killing." Catalyst: Feminism, Theory, Technoscience 2, no. 1 (2016): 1–23. http://dx.doi.org/10.28968/cftt.v2i1.28832.
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Debates about today’s unmanned systems explain their operation using binary distinctions to delimit “us” and “them,” “here” and “there,” and “human” and “machine.” Yet the networked actions of drone aircraft persistently undo these oppositions. I show that unmanned systems are dissociative, not dualistic. I turn to Haraway’s “A Cyborg Manifesto” (1991) to reflect on how drones rework limits ranging from the scale of bodies to geopolitical territories, as well as the political challenges they entail. The analysis has two parts. The first considers how Cold War drones fit into cybernetic discourse. I examine the Firebee, a pilotless target built in the aftermath of World War II, and explore how the system acts as if it were guided by machine responses even though human control remains integral to its operation. The second part considers how contemporary discussions of drone aircraft, both for and against the systems, rely on this dissociative logic. Rather than critiquing unmanned aircraft as dehumanizing, I argue that responses to drones must address the interconnections they produce and call for a politics that puts together the dissociations on which unmanned systems rely.
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Vanderborg, Susan. "Gendering “Otherspace”: The “Martian Ty/opography” of Johanna Drucker and Brad Freeman." Science Fiction Studies 35, Part 1 (2008): 88–104. https://doi.org/10.1525/sfs.35.1.0088.
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This essay analyzes an sf text that challenges stereotypes about women and language transmission through its experiments with stylistic features of the book form—not only narrative conventions, but also rules of typography, margins, and page layouts. The text is Otherspace: Martian Ty/opography, a 1992 collaboration by book artists Johanna Drucker and Brad Freeman. The presentation of different verbal and visual passages on its page spreads is examined, with an eye to the gender politics of the authors’ revisions of the story of Hélène Smith, a nineteenth-century medium. I note parallels between Otherspace’s experimental pages and the cyborg narrative that Donna Haraway calls for in “A Cyborg Manifesto.”
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Canovas, Océane, Louise Conan, Pablo Gille, et al. "La nature en guerre contre la vie. Une expérimentation d’écriture cyborg entre Guattari et Haraway." Sextant 41 (2024): 37–52. https://doi.org/10.4000/131o5.
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Cet article prend pour point de départ l’assertion de Guattari selon laquelle « [d]e tous les temps, la “nature” a été en guerre contre la vie » et tente de l’élucider à la lumière de la critique de la catégorie de nature dans le Manifeste cyborg de Haraway. Ainsi, la nature productrice de binarité fait face à la vie comme production cyborg non binaire, échappant à cette machine de normativisation, notamment par le biais d’écritures subversives permettant aux corps d’écrire leurs espaces. Ces mécanismes de subversion montrent dès lors que les questions de genre sont éminemment écologiques, appuyant le fait que les vivants sont les forces de réécriture de l’espace qui les conditionne au profit de milieux épais échappant à l’attracteur hors-sol de l’Anthropocène. L’article étant lui-même le fruit d’une expérimentation d’écriture collective, il espère esquisser dans sa forme même une telle écriture machinique/cyborg.
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Deikun, Ilya D. "Queerisation of Medium. To the Queer Plasticity of Sign Structure." Galactica Media: Journal of Media Studies 2, no. 1 (2020): 168–83. http://dx.doi.org/10.46539/gmd.v2i1.101.
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This article focuses on the study of emancipatory strategies and reveals contradictions between the rhetorical strategy in the Cyborg Manifesto and its pragmatics, on the one hand, and the discrepancy between the content and the social reflection of the concept of “multiple gender” developed by Judith Butler in Gender trouble, on the other. The author started to unfold this problematic in the paper Fleeing Queer (Vita Cogitans, 2019).
 The author argues that the main reason for these contradictions is the inherent neglect of sign-medium specificity by structuralists. Following the criticism initiated by Regis Debray who proposes a new vision of sing focused on its materiality, the author outlines a way to the range of genres which seems to be more adequate to the rates of Cyborg Manifesto and proposes to consider practices which save the room for multiplicity and indeterminacy in the sense of Bergson, Matière et Mémoire, on the level of sign-medium. From this perspective the sign-medium continuum makes us seek for what we could indicate as “queerisation of medium”. We show the corresponding possibilities on the example of the alphabet and writing invented by a Moscow artist Anya Belousova.