Donna J. Haraway Quotes

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.

The boundary between science fiction and social reality is an optical illusion

Why should our bodies end at the skin, or include at best other beings encapsulated by skin?

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.

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.

A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction.

Feminist objectivity means quite simply situated knowledges

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.

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.

Single vision produces worse illusions than double vision or many-headed monsters.

Though both are bound in the spiral dance, I would rather be a cyborg than a goddess.

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.

The cyborg would not recognize the garden of Eden; it is not made of mud and cannot dream of returning to dust.

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.

Our machines are disturbingly lively, and we ourselves frighteningly inert.

The cyborg is a kind of disassembled and reassembled, postmodern collective and personal self. This is the self feminists must code.

Myth and tool mutually constitute each other.

I’d rather be a cyborg than a goddess.

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.

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.

Consciousness of exclusion through naming is acute. Identities seem contradictory, partial, and strategic.

Grammar is politics by other means.

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...

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.

Blasphemy has always seemed to require taking things very seriously.