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The society Donna Haraway imagines in her article “A Cyborg Manifesto” from 1985 is one in which gender and other conventional divisions, such as those between humans and machines, are obsolete. Haraway’s idea of the cyborg—a hybrid being that defies these distinctions—provides a means of envisioning a post-gender society in which identity is fluid. Years later, on her 2018 album “Dirty Computer,” Janelle Monáe goes into these concepts by imagining a dystopian future in which those who reject traditional norms—particularly those pertaining to race, gender, and sexual orientation—are faced with persecution. 

In her manifesto, Haraway makes the case that rejecting fixed identities and embracing hybridity may be strategies for opposing oppressive power structures. Monáe adopts this concept in “Dirty Computer,” where she imagines a society in which individuals who rebel against social norms—such as Jane 57821, her main character—are branded as “dirty” and made to undergo “cleaned” treatment by an oppressive government. This idea of “cleaning” is quite close to the metaphor of the cyborg that Haraway uses to dispel the idea that individuals must perfectly fit into particular groups. Monáe’s “dirty computers,” like the cyborg, are in a constant state of change, representing the possibility of changing identities. 

Haraway’s vision of a post-gender society is embodied in songs like “Make Me Feel” and “PYNK.” The song “PYNK” by Monáe celebrates the liberation to exist outside traditional gender norms by embracing femininity and queerness. In a comparable way, Haraway’s cyborg challenges strict stereotypical gender thinking by implying that identity may be more inclusive and versatile. Monáe offers this concept a modern, queer twist in *Dirty Computer*, using her music and visual art to challenge societal norms that aim to categorize and limit people. 

Identity is something to be transformed and reconstructed, instead of something to be accepted or dictated, according to *A Cyborg Manifesto* and *Dirty Computer*. The issues Haraway outlined are explored in modern fashion in Monáe’s record, which presents a bold, future picture in which resistance and fluidity could result in empowerment. 

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Haraway’s “Cyborg Manifesto” and Janelle Monae’s Dirty Computer offer compelling explorations of identity, particularly in the context of fluidity and societal constraints. Haraway argues for a post-gender world, emphasizing that identities can be hybrid and multifaceted. In contrast, Dirty Computer portrays a dystopian society that punishes non-conformity, highlighting the struggles faced by individuals who defy rigid categories.

In “Django Jane,” Monae powerfully embodies Haraway’s vision of fluid identity. The lyrics emphasize self-empowerment and resistance against societal norms, with lines such as “I’m a black woman / I’m a cyborg,” reflecting the hybrid identity Haraway advocates. This celebration of intersectionality aligns with Haraway’s assertion that the cyborg represents a break from traditional identities, embracing complexity rather than binary thinking.

Furthermore, the theme of surveillance in Dirty Computer mirrors Haraway’s critique of how technology can oppress as well as liberate. The track “Crazy, Classic, Life” highlights the pressures to conform, with Monae singing about societal expectations that stifle individuality. The line “You’re a dirty computer / You’re not gonna make it” suggests that deviation from norms is viewed as a malfunction, resonating with Haraway’s notion that technology can enforce rigid identities.

Monae’s use of sci-fi imagery throughout the album reflects Haraway’s ideas about technology as a means of reimagining identity. In the song “Pynk,” Monae embraces queer love and femininity, with lyrics celebrating the beauty of non-conformity. The visual aesthetic of the accompanying music video, featuring vibrant colors and fluid movements, creates a space where traditional gender roles are dismantled, paralleling Haraway’s call for embracing multiplicity.

Additionally, the overarching narrative of Dirty Computer illustrates the consequences of societal repression. The concept of being “dirty” serves as a metaphor for those who exist outside conventional norms. Haraway writes about the potential for cyborgs to subvert dominant ideologies; similarly, Monae portrays the fight against a world that seeks to categorize and control. In “Americans,” she critiques the treatment of marginalized individuals, echoing Haraway’s emphasis on the importance of challenging societal norms.

In conclusion, both Haraway’s essay and Monae’s album invite us to reconsider our understanding of identity. Through specific songs and themes, Monae reflects Haraway’s vision of a fluid, post-gender reality while simultaneously warning of the dangers of a society that punishes difference. Together, they urge a reimagining of identity that embraces complexity, fluidity, and empowerment in the face of oppression.

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Author Kaitlyn Murray

William Gibson’s Neuromancer and Ridley Scott’s Blade Runner explore posthumanism, questioning what it means to be human as technology increasingly integrates with human life. Posthumanism challenges rethinking what it means to be human in a world where technology and flesh are merging, past the traditional image of human. In both works, the loss of humanity through technological enhancements is a central theme.

In Neuromancer, Molly Millions is the epitome of the blurred line between human and cyborg. Her cybernetic implants, including augmented eyes and retractable razor claws, enhance her abilities beyond human limits. Molly’s augmented eyes allowed her to see with more precision and a broader range of frequencies than a natural human. These enhancements allowed her reflexes to be sharper.  Additionally, Molly’s mirrored lenses made it impossible for others to see where she was looking or read her emotions. Lastly, Molly’s retractable claws made her lethal in close combat.

Molly’s fusion of flesh with machines reinforces Molly’s hybrid not so human-like nature because although her implants make her more powerful, they also alienate her from humanity. Additionally, the mirrored lenses obscuring her emotions, the ignoring of pain, and the act of Molly desensitizing herself and becoming a “meat puppet” to help pay for her technological advancements further underscores her loss of humanity in the pursuit of technological advancement.

In Blade Runner, the replicants look like and act like humans, however, are treated inferior to humans, highlighting the loss of humanity when beings capable of genuine feeling are denied their rights and personhood. For instance, Rachael, a replicant, poses an interesting question to Rick Deckard, a blade runner: “Would you put a human into ‘retirement’ (death)? Blade Runners dehumanize replicants as they with ease eliminate technological beings perceived as less than human. Rachael asking questions about life and death illustrates the moral complexities of replicants being human in their emotions and in their experiences.

Additionally, the replicant’s possession of implanted human memories emphasizes the theme of the loss of humanity through technology. Human Personhood and Identity are lost in Blade Runner as one’s deepest memories are not their own anymore.  Also, these artificial memories distort the replicant’s sense of individuality and personal identity.

Both Neuromancer and Blade Runner warn us of all of the implications of technology on our understanding of what it means to be human. We are already walking into a world similar to science fiction as humanoids are already among us as Elon Musk introduced Optimus performing simple tasks. As well as Morgan Stanley estimating that by 2040, the US may have 8 million working humanoid robots. As we integrate more with technology, we face similar challenges about identity and what it means to be human. As we continue the pursuit of technological innovation, will we move further and further from our traditional concept of humanity or learn from the books before us?

Works Cited:

Humanoid Helpers of the Future | Morgan Stanley. (2024). Morgan Stanley. https://www.morganstanley.com/ideas/humanoid-robot-market-outlook-2024

‌McCallum, S. (2022, October 1). Tesla boss Elon Musk presents humanoid robot Optimus. BBC News. https://www.bbc.com/news/technology-63100636

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Humanity, Identity, and Artificial Intelligence

In both Blade Runner and Neuromancer the authors depict a futuristic society that is in societal decay. One of the key concepts in both is that fact that big powerful companies such as Tessier-Ashpool control and manipulate society. In the Blade Runner, the company that manufactured the replicants had a major impact on the society because of their power. They sold the replicants for labor and used them until they deemed them unuseful. In the movie, the replicants are made to be identical to humans however they have additional physical capabilities. The film questions what it means to be human and have humanity, it was depicted that have empathy and other emotions separated man from machine

film blurs the lines between human and machine by showing that replicants, especially Roy Batty, possess emotions, desires, and self-awareness. Batty’s final monologue, where he reflects on the fleeting nature of his experiences—“All those moments will be lost in time, like tears in rain”—underscores the film’s central concern with memory, mortality, and what defines a human being.

In Neuromancer, the exploration of human identity is tied to cyberspace, a digital realm where human consciousness can exist independently of the body. The novel’s protagonist, Case, is a washed-up console cowboy who interacts with cyberspace and artificial intelligence in ways that blur the line between reality and virtual existence. As Case delves deeper into cyberspace, his sense of self becomes increasingly fragmented, raising questions about the relationship between consciousness and the body. The characters’ interaction with AI—most notably Wintermute and Neuromancer—also challenges the notion of a distinct human identity. These AIs, while not human, possess intelligence and autonomy, pushing the boundaries of what constitutes life and personhood in a technological age.

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Lights on me, cameras on three and we’re rolling. As we step into the film Blade Runner by Ridley Scott and the novel “Neuromancer” by William Gibson we see that both forms of media represent Cyberpunk qualities through bright neon lights, tall skyscrapers, and hyper dependence on technology. 

 (Chiba City in Neuromancer (1))

(Los Angeles in Blade Runner (2))

As the qualities of Cyberpunk vary, the three qualities mentioned above played crucial roles in the development of the plot and the message portrayed throughout both medias. Neon lights are used to represent the blurred lines between technology and reality in that neon lights are a way to distract consumers from relying more and more on technology (3). The following article, has more discussion about the role of neon lights in the Cyberpunk genre https://neonhub.com/blogs/news/neon-cyberpunk-neons-Role-in-cyberpunk-culture. As for tall skyscrapers, they serve as physical representations of how technology has surpassed human understanding. As technology gradually advances, robots and AI machines have become more human-like causing humans to question their identity as humans. In using these qualities to represent the genre Cyberpunk, Scott and Gibson draw parallels to the reality of humans growing more and more dependent on technology.  

Throughout the film, Blade Runner, there are many instances where a scene cuts to the city which is covered in neon lights and tall skyscrapers. To be more specific, the opening scene of the film exhibits this and brings attention to the dark, crowded and gloomy city. Having billboards and old buildings covered in flashing bright neon lights contradicts how wrecked the city actually is. This depiction was made to show that although technology is advancing, the city and people who consume it are regressing and decaying away.

In the novel, Neuromancer, these qualities are seen in the description of Chiba City which is also very dark and grimy but has bright neon lights throughout it. Gibson’s approach was similar to Scott’s as he portrayed a society that is filled with cutting edge technology but the reality of where the technology is being innovated is a harsh and gritty society. 

Both medias display a dystopian environment that is foreseeing what our world will look like if we continue advancing and depending on technology. In today’s time, our society doesn’t appear on the outside as such, but I believe on the inside it does. 

Sources

1. https://medium.com/@ryansaffiliatehustle/exploring-the-cyberpunk-world-of-neuromancer-afe0c8a4d8c9
2. https://variety.com/2017/film/columns/how-blade-runner-became-a-geek-metaphor-for-art-1202583468/
3. https://neonhub.com/blogs/news/neon-cyberpunk-neons-role-in-cyberpunk-culture

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Humans have battled with the boundary of what being a human truly is since technology became a part of everyday life. While some believe that humanity is surface level based on consciousness, others beg to differ due to how intersecting technology has become with human life. People are beginning to lose touch with how technology has begun to reshape human consciousness. 

In the film Blade Runner, the Replicants are perfect evidence for the blurred line between what is considered human and artificial intelligence. They have every quality that a normal human would have, but they are treated as if they are easily disposable. Every deep emotion that is associated with being human is seen in the replicants. For example, Roy Batty, a replicant, gives a heartfelt monologue at the end of the film that gives rise to the question of his “humanness”.  He says, “I’ve seen things you people wouldn’t believe…All those moments will be lost in time, like tears in rain.”. Memories and important moments are cherished to humans to have a sense of identity. Every memory that a human has is valued and can shape the identity and personality of a person. He developed a fear of death and oblivion like any human does. Despite being artificially created as a replicant, his emotional depth challenges the audience to distinguish between what being a human is. 

The human and digital realm is blurred as the book, Neuromancer, shifts the focus to the themes of artificial intelligence and cyberspace. The main character, Case, enters the cyberspace and leaves his physical body behind. The role of the body in defining humanity is brought to question through the book. Witnessing technology in a world where human identity can be disembodied and exist within a digital realm raises profound questions about the nature of consciousness. For example, as Case continues to navigate through cyberspace, his identity becomes disconnected from his physical self. This theme of disembodiment shows humanity potentially creating a reality where existence can be possible while the body is irrelevant. Machine-driven environments create that divide for where humanity lies.

The film and the book give a scary and soon to be possible reality where consciousness can exist without a physical embodiment of self. Through the depictions of the replicants and artificial intelligence, these bodies of work show that being human is not simply defined biologically or physically, but rather by self-awareness, memory, and identity. 

https://www.litcharts.com/lit/neuromancer/summary

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Both Blade Runner (1982) and Neuromancer (1984) show dystopian cities filled with neon lights, massive skyscrapers, and a mix of advanced technology with gritty, low-life realities. These settings capture the essence of cyberpunk, where futuristic tech exists alongside urban decay.

In Blade Runner, the version of Los Angeles in 2019 is dark, rainy, and dominated by towering buildings and flashing neon signs. The opening scene gives us this huge, polluted cityscape, setting the mood for a world that’s clearly futuristic but deeply flawed. There’s advanced tech everywhere—flying cars, replicants—but it’s only accessible to the privileged. The lower levels of the city are crowded and grimy, showing the harsh divide between the rich and poor. Tyrell Corporation’s massive pyramid towers over the dingy streets below, symbolizing how the elites live in luxury while most people struggle. This “high-tech, low-life” vibe is classic cyberpunk: technology is everywhere, but it’s not making life better for everyone.

Neuromancer paints a similar picture with places like Chiba City and Freeside. Chiba City is a hub for underground tech, illegal cybernetics, and cutting-edge research, but it’s chaotic and gritty. Case, the protagonist, navigates a world filled with body modifications, hackers, and digital crime, all of which reflect the same divide between a high-tech world and the reality of life on the streets. The sprawling cities feel just as oppressive as the ones in Blade Runner, with technology helping some while leaving others in a state of constant survival.

Both works use neon lights to highlight the consumer-driven, artificial nature of these worlds. In Blade Runner, the constant glow of neon ads, often in different languages, emphasizes how the world has become commercialized and globalized. In Neuromancer, neon signs and flashing lights evoke the chaotic, overwhelming nature of urban life, where corporate influence is everywhere, and even people’s bodies are commodified.

At their core, Blade Runner and Neuromancer depict sprawling, dystopian cities where skyscrapers and neon lights are everywhere, but most people are still stuck in grim realities. Both settings show the dark side of technological progress, where power and wealth are concentrated at the top, leaving everyone else to navigate a harsh and dehumanizing world.