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.— Donna J. Haraway
The most skyrocket Donna J. Haraway quotes that are new and everybody is talking about
A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction.
Though both are bound in the spiral dance, I would rather be a cyborg than a goddess.
The boundary between science fiction and social reality is an optical illusion
The cyborg would not recognize the garden of Eden;
it is not made of mud and cannot dream of returning to dust.
Late twentieth-century machines have made thoroughly ambiguous the difference between natural and artificial, 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.
In a sense, a 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.
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.
The cyborg is a kind of disassembled and reassembled, postmodern collective and personal self. This is the self feminists must code.
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.
Single vision produces worse illusions than double vision or many-headed monsters.
Consciousness of exclusion through naming is acute.
Identities seem contradictory, partial, and strategic.
Cyborg writing must not be about the Fall, the imagination of a once-upon-a-time wholeness before language, before writing, before Man. Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other...
Blasphemy has always seemed to require taking things very seriously.
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.
From this point of view, science - the real game in town - is rhetoric, a series of efforts to persuade relevant social actors that one's manufactured knowledge is a route to a desired form of very objective power.
Technology is not neutral. We're inside of what we make, and it's inside of us. We're living in a world of connections — and it matters which ones get made and unmade.
Myth and tool mutually constitute each other.
Our machines are disturbingly lively, and we ourselves frighteningly inert.
In language that is searing and lyrical, evocative and precise, this exceptional book thinks with the zombies, specters, felons, slaves, dogs, cadavers, and other entities that are the remnants of loss and dispossession in the law. Dogs and people are abundantly present here, even as the legal fictions they are made to inhabit are exposed with acid lucidity. These are hard histories made readable by Dayan's precious acts of writing.
Grammar is politics by other means.
Feminist objectivity means quite simply situated knowledges
I’d rather be a cyborg than a goddess.
Scientific practice is above all a story-telling practice.
... Biology is inherently historical, and its form of discourse is inherently narrative. ... Biology as a way of knowing the world is kin to Romantic literature, with its discourse about organic form and function. Biology is the fiction appropriate to objects called organisms; biology fashions the facts "discovered" about organic beings.
Why should our bodies end at the skin, or include at best other beings encapsulated by skin?
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 an serious play. It is also a rhetorical strategy and a political method, one I would like to see more honoured within socialist-feminism.