|Donna Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late
Twentieth Century," in Simians, Cyborgs and Women: The Reinvention of Nature (New York;
Routledge, 1991), pp.149-181.
AN IRONIC DREAM OF A COMMON LANGUAGE FOR WOMEN IN THE INTEGRATED CIRCUIT
This chapter is an effort to build an ironic political myth faithful to feminism, socialism, and materialism.
Perhaps more faithful as blasphemy is faithful, than as reverent worship and identification. Blasphemy has always seemed to require taking things very seriously. I know no better stance to adopt from within the secular-religious, evangelical traditions of United States politics, including the politics of socialist feminism. Blasphemy protects one from the moral majority within, while still insisting on the need for community. Blasphemy is not apostasy. Irony is about contradictions that do not resolve into larger wholes, even dialectically, about the tension of holding incompatible things together because both or all are necessary and true. Irony is about humour and serious play. It is also a rhetorical strategy and a political method, one I would like to see more honoured within socialist-feminism. At the centre of my ironic faith, my blasphemy, is the image of the cyborg.
A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction. Social reality is lived social relations, our most important political construction, a world-changing fiction. The international women's movements have constructed 'women's experience', as well as uncovered or discovered this crucial collective object. This experience is a fiction and fact of the most crucial, political kind. Liberation rests on the construction of the consciousness, the imaginative apprehension, of oppression, and so of possibility. The cyborg is a matter of fiction and lived experience that changes what counts as women's experience in the late twentieth century. This is a struggle over life and death, but the boundary between science fiction and social reality is an optical illusion.
Contemporary science fiction is full of cyborgs - creatures simultaneously animal and machine, who populate worlds ambiguously natural and crafted.Modern medicine is also full of cyborgs, of couplings between organism and machine, each conceived as coded devices, in an intimacy and with a power that was not generated in the history of sexuality. Cyborg 'sex' restores some of the lovely replicative baroque of ferns and invertebrates (such nice organic prophylactics against heterosexism). Cyborg replication is uncoupled from organic reproduction. Modern production seems like a dream of cyborg colonization work, a dream that makes the nightmare of Taylorism seem idyllic. And modern war is a cyborg orgy, coded by C3I, command-control-communication-intelligence, an $84 billion item in 1984'sUS defence budget. I am making an argument for the cyborg as a fiction mapping our social and bodily reality and as an imaginative resource suggesting some very fruitful couplings. Michael Foucault's biopolitics is a flaccid premonition of cyborg politics, a very open field.
By the late twentieth century, our time, a mythic time, we are all chimeras, theorized and fabricated hybrids of machine and organism; in short, we are cyborgs. Ths cyborg is our ontology; it gives us our politics. The cyborg is a condensed image of both imagination and material reality, the two joined centres structuring any possibility of historical transformation. In the traditions of 'Western' science and politics--the tradition of racist, male-dominant capitalism; the tradition of progress; the tradition of the appropriation of nature as resource for the productions of culture; the tradition of reproduction of the self from the reflections of the other - the relation between organism and machine has been a border war. The stakes in the border war have been the territories of production, reproduction, and imagination. This chapter is an argument for pleasure in the confusion of boundaries and for responsibility in their construction. It is also an effort to contribute to socialist-feminist culture and theory in a postmodernist, non-naturalist mode and in the utopian tradition of imagining a world without gender, which is perhaps a world without genesis, but maybe also a world without end. The cyborg incarnation is outside salvation history. Nor does it mark time on an oedipal calendar, attempting to heal the terrible cleavages of gender in an oral symbiotic utopia or post-oedipal apocalypse. As Zoe
Sofoulis argues in her unpublished manuscript on Jacques Lacan, Melanie Klein, and nuclear culture, Lacklein, the most terrible and perhaps the most promising monsters in cyborg worlds are embodied in non-oedipal narratives with a different logic of repression, which we need to understand for our survival.
The cyborg is a creature in a post-gender world; it has no truck with bisexuality, pre-oedipal symbiosis, unalienated labour, or other seductions to organic wholeness through a final appropriation of all the powers of the parts into a higher unity. In a sense, the cyborg has no origin story in the Western sense - a 'final' irony since the cyborg is also the awful apocalyptic telos of the'West's' escalating dominations of abstract individuation, an ultimate self untied at last from all dependency, a man in space. An origin story in the 'Western', humanist sense depends on the myth of original unity, fullness, bliss and terror, represented by the phallic mother from whom all humans must separate, the task of individual development and of history, the twin potent myths inscribed most powerfully for us in psychoanalysis and Marxism. Hilary Klein has argued that both Marxism and psychoanalysis, in their concepts of labour and of individuation and gender formation, depend on the plot of original unity out of which difference must be produced and enlisted in a drama of escalating domination of woman/nature. The cyborg skips the step of original unity, of identification with nature in the Western sense. This is its illegitimate promise that might lead to subversion of its teleology as star wars.
The cyborg is resolutely committed to partiality, irony, intimacy, and perversity. It is oppositional, utopian, and completely without innocence. No longer structured by the polarity of public and private, the cyborg defines a technological polls based partly on a revolution of social relations in the oikos, the household. Nature and culture are reworked; the one can no longer be the resource for appropriation or incorporation by the other. The rela-tionships for forming wholes from parts, including those of polarity and hierarchical domination, are at issue in the cyborg world. Unlike the hopes of Frankenstein's monster, the cyborg does not expect its father to save it through a restoration of the garden; that is, through the fabrication of a heterosexual mate, through its completion in a finished whole, a city and cosmos. The eyborg does not dream of community on the model of the organic family, this time without the oedipal project. The cyborg would not recognize the Garden of Eden; it is not made of mud and cannot dream of returning to dust. Perhaps that is why I want to see if eyborgs can subvert the apocalypse of returning to nuclear dust in the manic compulsion to name the Enemy. Cyborgs are not reverent; they do not re-member the cosmos. They are wary of holism, but needy for connection- they seem to have a natural feel for united front politics, but without the vanguard party. The main trouble with cyborgs, of course, is that they are the illegitimate offspring of militarism and patriarchal capitalism, not to mention state socialism. But illegitimate offspring are often exceedingly unfaithful to their origins. Their fathers, after all, are inessential.
I will return to the science fiction of cyborgs at the end of this chapter, but now I want to signal three crucial boundary breakdowns that make the following political-fictional (political-scientific) analysis possible. By the late twentieth century in United States scientific culture, the boundary between human and animal is thoroughly breached. The last beachheads of uniqueness have been polluted if not turned into amusement parks--language tool use, social behaviour, mental events, nothing really convincingly settles the separation of human and animal. And many people no longer feel the need for such a separation; indeed, many branches of feminist culture affirm the pleasure of connection of human and other living creatures. Movements for animal rights are not irrational denials of human uniqueness; they are a clear-sighted recognition of connection across the discredited breach of nature and culture. Biology and evolutionary theory over the last two centuries have simultaneously produced modern organisms as objects of knowledge and reduced the line between humans and animals to a faint trace re-etched in ideological struggle or professional disputes between life and social science. Within this framework, teaching modern Christian creationism should be fought as a form of child abuse.
Biological-determinist ideology is only one position opened up in scientific culture for arguing the meanings of human animality. There is much room for radical political people to contest the meanings of the breached boundary.2 The cyborg appears in myth precisely where the boundary between human and animal is transgressed. Far from signalling a walling off of people from other living beings, cyborgs signal distrurbingly and pleasurably tight coupling. Bestiality has a new status in this cycle of marriage exchange.
The second leaky distinction is between animal-human (organism) and machine. Pre-cybernetic machines could be haunted; there was always the spectre of the ghost in the machine. This dualism structured the dialogue between materialism and idealism that was settled by a dialectical progeny, called spirit or history, according to taste. But basically machines were not self-moving, self-designing, autonomous. They could not achieve man's dream, only mock it. They were not man, an author to himself, but only a caricature of that masculinist reproductive dream. To think they were otherwise was paranoid. Now we are not so sure. Late twentieth-century machines have made thoroughly ambiguous the difference between natural and art)ficial, mind and body, self-developing and externally designed, and many other distinctions that used to apply to organisms and machines. Our machines are
disturbingly lively, and we ourselves frighteningly inert.
To recapitulate, certain dualisms have been persistent in Western traditions; they have all been systemic
to the logics and practices of domination of women, people of colour, nature, workers, animals – in short, domination of all constituted as others, whose task is to mirror the self. Chief among these troubling dualisms are self/other, mind/body, culture/nature, male/female, civilized/primitive, reality/appearance, whole/part, agent/resource, maker/ made, active/passive, right/wrong, truth/illusion, totaVpartial, God/man. The self is the One who is not dominated, who knows that by the semice of the other, the other is the one who holds the future, who knows that by the experience of domination, which gives the lie to the autonomy of the self. To be One is to be autonomous, to be powerful, to be God; but to be One is to be an illusion, and so to be involved in a dialectic of apocalypse with the other. Yet to be other is to be multiple, without clear boundary, frayed, insubstantial. One is too few, but two are too many.
High-tech culture challenges these dualisms in intriguing ways. It is not clear who makes and who is made in the relation between human and machine. It is not clear what is mind and what body in machines that resolve into coding practices. In so far as we know ourselves in both formal discourse (for example, biology) and in daily practice (for example, the homework economy in the integrated circuit), we find ourselves to be cyborgs, hybrids, mosaics, chimeras. Biological organisms have become biotic systems, communications devices like others. There is no fundamental, ontological separation in our formal knowledge of machine and organism, of technical and organic. The replicant Rachel in the Ridley Scott film Blade Runner stands as the image of a cyborg culture's fear, love, and confusion.
One consequence is that our sense of connection to our tools is heightened. The trance state experienced by many computer users has become a staple of science-fiction film and cultural jokes. Perhaps paraplegics and other severely handicapped people can (and sometimes do) have the most intense experiences of complex hybridization with other communication devices.29 Anne McCaffrey's pre-feminist The Ship Who Sang (1969) explored the consciousness of a cyborg, hybrid of girl's brain and complex machinery, formed after the birth of a severely handicapped child. Gender, sexuality, embodiment, skill: all were reconstituted in the story. Why should our bodies end at the skin, or include at best other beings encapsulated by skin? From the seventeenth century dll now, machines could be animated - given ghostly souls to make them speak or move or to account for their orderly development and mental capacides. Or organisms could be mechan-ized - reduced to body understood as resource of mind. These machine/ organism relationships are obsolete, unnecessary. For us, in imagination and in other practice, machines can be prosthetic devices, intimate components, friendly selves. We don't need organic holism to give impermeable whole-ness, the total woman and her feminist variants (mutants?). Let me conclude this point by a very partial reading of the logic of the cyborg monsters of my second group of texts, feminist science fiction.
The cyborgs populating feminist science fiction make very problematic the statuses of man or woman, human, artefact, member of a race, individual endty, or body. Katie King clarifies how pleasure in reading these fictions is not largely based on idendfication. Students facingJoanna Russ for the first time, students who have learned to take modernist writers like James Joyce or Virginia Woolf without flinching, do not know what to make of The Adventures of Alyx or The Female Man, where characters refuse the reader's search for innocent wholeness while granting the wish for heroic quests, exuberant eroticism, and serious politics. The Female Man is the story of four versions of one genotype, all of whom meet, but even taken together do not make a whole, resolve the dilemmas of violent moral action, or remove the growing scandal of gender. The feminist science fiction of Samuel R. Delany, especially Tales of Neveyon, mocks stories of origin by redoing the neolithic revolution, replaying the founding moves of Western civilization to subvert their plausibility. James Tiptree, Jr, an author whose fiction was regarded as particularly manly undl her 'true' gender was revealed, tells tales of reproduction based on non-mammalian technologies like alternation of generations of male brood pouches and male nurturing. John Varley constructs a supreme cyborg in his arch-feminist exploration of Gaea, a mad goddess-planet-trickster-old woman-technological device on whose surface an extraordinary array of post-cyborg symbioses are spawned. Octavia Butler writes of an African sorceress pithug her powers of transformation against the genetic manipulations of her rival (Wild Seed), of dme warps that bring a modern US black woman into slavery where her actions in relation to her white master-ancestor determine the possibility of her own birth (Kindred), and of the illegidmate insights into idendty and community of an adopted cross-species child who came to know the enem' as self (Survivor). In Dawn (1987), the first instalment of a series called Xenogenesis, Butler tells the story of Lilith Iyapo, whose personal name recalls Adam's first and repudiated wife and whose family name marks her status as the widow of the son of Nigerian immigrants to the US. A black woman and a mother whose child is dead, Lilith mediates the transformation of humanity through genetic exchange with extra-terrestrial lovers/rescuers/destroyers/genetic engineers, who reform earth's habitats after the nuclear holocaust and
coerce surviving humans into intimate fusion with them. It is a novel that interrogates reproductive, linguishc, and nuclear politics in a mythic field structured by late twentieth-century race and gender.
Because it is particularly rich in boundary transgressions, Vonda McIn-tyre's Superluminal can close this truncated catalogue of promising and dangerous monsters who help redefine the pleasures and politics of embodiment and feminist writing. In a fiction where no character is 'simply' human, human status is highly problematic. Orca, a genetically altered diver, can speak with killer whales and survive deep ocean conditions, but she longs to explore space as a pilot, necessitating bionic implants jeopardizing her kinship with the divers and cetaceans. Transformations are effected by virus vectors carrying a new developmental code, by transplant surgery, by implants of microelectronic devices, by analogue doubles, and other means. Lacnea becomes a pilot by accepting a heart implant and a host of other alterations allowing survival in transit at speeds exceeding that of light. Radu Dracul survives a virus-caused plague in his outerworld planet to find himself with a time sense that changes the boundaries of spatial perception for the whole species. All the characters explore the limits of language; the dream of communicating experience; and the necessity of limitation, partiality, and indmacy even in this world of protean transformation and connection. Superluminal stands also for the defining contradictions of a cyborg world in another sense; it embodies textually the intersection of feminist theory and colonial discourse in the science fiction I have alluded to in this chapter. This is a conjunction with a long history that many 'First World' feminists have tried to repress, including myself in my readings of Superluminal before being called to account by Zoe Sofoulis, whose different location in the world system's informatics of domin-ation made her acutely alert to the imperialist moment of all science fiction cultures, including women's science fiction. From an Australian feminist sensitivity, Sofoulis remembered more readily McIntyre's role as writer of the adventures of Captain Kirk and Spock in TV's Star Trek series than her rewriting the romance in Superluminal.
Monsters have always defined the limits of community in Western imaginations. The Centaurs and Amazons of ancient Greece established the limits of the centred polls of the Greek male human by their disruption of marriage and boundary pollutions of the warrior with animality and woman. Unseparated twins and hermaphrodites were the confused human material in early modern France who grounded discourse on the natural and supernatural, medical and legal, portents and diseases -- all crucial to establishing modern identity.30 The evolutionary and behavioural sciences of monkeys and apes have marked the multiple boundaries of late twentieth-century industrial identities. Cyborg monsters in feminist science fiction define quite different political possibilities and limits from those proposed by the mundane fiction of Man and Woman.
There are several consequences to taking seriously the imagery of cyborgs as other than our enemies. Our bodies, ourselves; bodies are maps of power and identity. Cyborgs are no exception. A cyborg body is not innocent; it was not born in a garden; it does not seek unitary identity and so generate antagonistic dualisms without end (or until the world ends); it takes irony for granted. One is too few, and two is only one possibility. Intense pleasure in skill, machine skill, ceases to be a sin, but an aspect of embodiment. The machine is not an it to be animated, worshipped, and dominated. The machine is us, our processes, an aspect of our embodiment. We can be responsible for machines; they do not dominate or threaten us. We are responsible for boundaries; we are they. Up till now (once upon a time), female embodiment seemed to be given, organic, necessary; and female embodiment seemed to mean skill in mothering and its metaphoric exten-sions. Only by being out of place could we take intense pleasure in machines, and then with excuses that this was organic activity after all, appropriate to females. Cyborgs might consider more seriously the partial, fluid, sometimes aspect of sex and sexual embodiment. Gender might not be global identity after all, even if it has profound historical breadth and depth.
The ideologically charged question of what counts as daily activity, as experience, can be approached by exploiting the cyborg image. Feminists have recently claimed that women are given to dailiness, that women more than men somehow sustain daily life, and so have a privileged epistemo-logical position potentially. There is a compelling aspect to this claim, one that makes visible unvalued female activity and names it as the ground of life. But the ground of life? What about all the ignorance of women, all the exclusions and failures of knowledge and skill? What about men's access to daily competence, to knowing how to build things, to take them apart, to play? What about other embodiments? Cyborg gender is a local possibility taking a global vengeance. Race, gender, and capital require a cyborg theory of wholes and parts. There is no drive in cyborgs to produce total theory, but there is an intimate experience of boundaries, their construction and deconstruction. There is a myth system waiting to become a political language to ground one way of looking at science and technology and challenging the informatics of domination-- in
order to act potently.
One last image organisms and organismic, holistic politics depend on metaphors of rebirth and invariably call on the resources of reproductive sex. I would suggest that cyborgs have more to do with regeneration and are suspicious of the reproductive matrix and of most birthing. For salamanders, regeneration after injury, such as the loss of a limb, involves regrowth of structure and restoration of function with the constant possibility of twinning or other odd topographical productions at the site of former injury. The regrown limb can be monstrous, duplicated, potent. We have all been injured, profoundly. We require regeneration, not rebirth, and the possibilities for our reconstitution include the utopian dream of the hope for a monstrous world without gender.
Cyborg imagery can help express two crucial arguments in this essay: first, the production of universal, totalizing theory is a major mistake that misses most of reality, probably always, but certainly now; and second, taking responsibility for the social relations of science and technology means refusing an anti-science metaphysics, a demonology of technology, and so means embracing the skilful task of reconstructing the boundaries of daily life, in partial connection with others, in communication with all of our parts. It is not just that science and technology are possible means of great human satisfaction, as well as a matrix of complex dominations. Cyborg imagery can suggest a way out of the maze of dualisms in which we have explained our bodies and our tools to ourselves. This is a dream not of a common language, but of a powerful infidel heteroglossia. It is an imagination of a feminist speaking in tongues to strike fear into the circuits of the supersavers of the new right. It means both building and destroying machines, identities, categories, relationships, space stories. Though both are bound in the spiral dance,
I would rather be a cyborg than a goddess.