Category: Media Critique

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Haraway offers a vision of a post-gender world in which identity is fluid. This vision can be seen within Janelle Monáe’s album “Dirty Computer” which depicts a dystopian world where non-conforming individuals are persecuted. Firstly, in the “Cyborg Manifesto” essay she informs the reader that there are many binaries within western culture. For example, like the concept of male and female; it’s either one or the other, not both and not definitely not neither. This social structure creates the means for power dynamics within society. With power dynamics comes inequality, social isolation, and gender supremacy. When addressing cyborg entities she expresses the fact that they cannot be categorized within these bounds. A cyborg is a hybrid entity which is fluid and does not represent a binary gender. Some of these ideas can be seen in Janelle Monáe’s album. My favorite song on her album, “I Like That”, tries to break down societal norms affecting women. Women are supposed to exude beauty and have this specific sort of feminine identity/presence. She says, “I don’t care what I look like, but I feel good”. She realizes that as a lady she is looked at and judged on a daily basis because of her gender. However she doesn’t care about what others have to say. She believes that feeling good about yourself comes from within, not from the outside. As long as you feel good inside then that is all that matters. Another example from that song is “And I like that, I don’t really give a f*ck if I was just the only one / Who likes that”. Janelle is saying she doesn’t want to conform to the social norms within her society. This lyric may not clearly state gender but it expresses her fluid identity and individuality. Both Haraway and Janelle Monáe come to the same conclusion on their view of a post-gender world where identity is fluid and somewhat nonbinary.

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In the essay “Cyborg Manifesto,” by Donna Haraway, she conceptualizes a world where society norms like gender, race etc. are not an indicator of what individuals are defined or identified by. Instead, in this society identity is fluid because technology is advanced and distorts the idea of those once held societal constructs individuals once went by. However, Haraway does draw parallels between cyborgs and femininity. To expand on that idea, Cyborgs is in a sense a hybrid being that are equipped with robotic parts and also part human. They have redefined what it means to be an individual in society. They are essentially human but have enhancements that change the way one would think and navigate the world because some of their human attributes have been replaced with technology that gives them an advantage. Cyborgs are fluid because they give a different and new way to identify. Haraway relates this idea of femininity to cyborgs to help women break the social constructs that objectify them, that keep them in this box where no fluidity is allowed due to decades of enduring sexism. Cyborgs are a symbol of hope within the feminist movements for women to redefine themselves and allow for fluidity even when they are faced with discrimination. The album Dirty Computer by Janelle Monáe depicts a dystopian society in which people are persecuted for the simple action of not obeying the rules in the society. Which correlates with Haraway’s notion of the cyborg as outcast or undeserving of the simple joys of life, due to them redefining what it means to be different. Monáe’s album embodies diverse identities, with the creativity and out of box thinking that helps paint a picture and change one’s perspective, through her lyrics and beats. By drawing out the parallels like Haraway did. By detailing her experience as an individual who has been oppressed in society and seeing the changes to these constructs that shows you that the constructs never stay the same because our world is constantly evolving.

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Though it sounds far-fetched, Jenelle Monáe’s album Dirty Computer resonates with the ideas framed in Donna Haraway’s essay Cyborg Manifesto especially as it pertains to the themes of gender identity, its fluidity and the push to resist oppression. For Haraway’s Cyborg Manifesto, Harraway offers a vision of a post-gender world in which identity is fluid. Haraway champions for the breakdown of the rigid boxes that categorize the human idea of identity and emphasizing fluidity beyond traditional binaries of gender, race, and species, which is what Monáe brings to life with her album Dirty Computer. Monáe’s album is a celebration of black queer feminist resistance against the oppression, racism, and misogyny in modern society. It’s important to note that Monáe herself is a queer woman who identifies as pansexual and is non-binary, opting to use pronouns of they/them or she/her. In an interview on the American talk show Red Table Talk. Monáe stated, “I’m non-binary, so I just don’t see myself as a woman, solely,” She added, “I feel all of my energy. I feel like God is so much bigger than the ‘he’ or the ‘she.’ If I am from God, I am everything. I am everything, but I will always, always stand with women.” In addition to that, Monáe explained that she’s attracted to people based on their energy, rather than their gender or sex. Dirty Computer uses many of her real life experiences as a queer woman to pull first hand inspiration for the album. In Janelle Monáe’s Dirty Computer: An Experience Immersed In Musical Activism written by Lucas Cava. Cava details the core details of Monáe’s album as it represents a love letter to black queer America, it shows them support in a society where they’re often the marginalized and demonized group. The dystopian world depicted in Dirty Computer mirrors Haraway’s concept showcasing a society where non-conforming individuals face persecution and fight with different forms of resistance.  Overall, Monáe’s Dirty Computer not only aligns with Haraway’s vision but also provides a strong viewpoint on the realities of those who are often marginalized identities within society.

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In Cyborg Manifesto, published in 1985, Donna Haraway challenged us to rethink our ideas about identity, gender, and technology. Fast forward to 2018, and Janelle Monae’s album Dirty Computer picks up where Haraway left off, painting a vivid picture of a dystopian world where individuals who don’t conform to societal norms are marginalized. By exploring Monae’s music through the lens of Haraway’s ideas, we can see how both works invite us to embrace a more fluid understanding of identity.

Haraway introduces the idea of the cyborg as a metaphor for breaking down the boundaries that define us. She suggests that in a post-gender world, identities become more fluid and less confined by societal expectations. In Monae’s song “Django Jane,” we witness this celebration of self-definition. Monae confidently asserts her identity and challenges the norms that seek to categorize her. Lines like “I’m not just a woman; I’m not just a man” resonate deeply with Haraway’s vision of a world where traditional gender roles no longer apply.

Monae’s Dirty Computer creates a dystopian reality where those who dare to be different are persecuted. This theme comes to life in the track “PYNK,” where Monae and her collaborators embrace femininity and queerness unapologetically. The vibrant imagery and the joyous celebration of love and identity serve as a direct response to Haraway’s manifesto. In a world that often seeks to silence and control those who don’t fit the mold, Monae’s music becomes an anthem of resistance. It’s a reminder that embracing our differences is not just an act of self-expression but also an act of rebellion against oppressive systems.

What I find most compelling about both Haraway and Monae is their insistence on the importance of fluidity. In “Make Me Feel,” Monae explores desire in ways that challenge heteronormative expectations. She sings about the thrill of love without being tied to traditional gender dynamics. This mirrors Haraway’s belief that our identities can be multifaceted and ever-evolving. Monae’s exploration of love and sexuality highlights the need to break free from societal constraints and fully inhabit our identities, just as Haraway envisioned.

In conclusion, the connection between Haraway’s Cyborg Manifesto and Monae’s Dirty Computer is profound. Both challenge us to reject simplistic labels and embrace the complexities of our identities. They encourage us to envision a world where being true to ourselves is a source of power and strength. As we listen to Monae’s powerful anthems, we are reminded that our identities can be fluid, diverse, and ultimately liberating.

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Reading Time: 2 minutes

Donna Haraway’s Cyborg Manifesto (1985) imagines a future where traditional identity categories—like gender and race—break down, allowing for fluidity and freedom. Haraway’s cyborg transcends binaries, existing outside the confines of societal norms. Janelle Monáe’s 2018 album Dirty Computer builds on this vision, using the “dirty computer” as a metaphor for individuals who refuse to conform to strict, limiting identities. Both works challenge us to rethink what it means to be human in a world that punishes non-conformity.

In Dirty Computer, Monáe presents a dystopian world where “dirty computers” are persecuted for their difference, echoing Haraway’s cyborg—a figure that rejects being neatly categorized. Tracks like “Pynk” and “I Like That” celebrate the fluidity of identity, particularly around gender and sexuality, which resonates with Haraway’s vision of a post-gender world. In Haraway’s theory, the cyborg is free from biological and social limitations. Similarly, Monáe’s music encourages a celebration of self-definition outside of societal constraints.

Monáe’s approach, however, also explores the darker side of technology. In her world, technology is a tool of control, used to erase memories and force individuals into conformity. This duality—where technology can both liberate and oppress—is central to both Haraway’s and Monáe’s work. While Haraway’s cyborg uses technology to break free from old systems of power, Monáe shows how those same tools can be used to reinforce them.

Monáe’s album, and its accompanying “Emotion Picture,” presents a clear parallel to Haraway’s vision. The “cleaning” process in Dirty Computer is symbolic of society’s attempts to erase non-conforming identities—whether through social exclusion, legal restrictions, or outright violence. In this world, technology doesn’t just control bodies, it controls minds, erasing the very memories that make individuals unique. Monáe’s character, Jane 57821, resists this process, reflecting Haraway’s idea of the cyborg as inherently rebellious, existing outside societal boundaries and resisting erasure.

Ultimately, both Haraway and Monáe envision futures where identities are fluid, boundaries are broken, and the binaries that define us begin to dissolve. Their work invites us to consider a world where non-conformity is celebrated, and where the future is shaped by those willing to resist being boxed in. They push us to embrace the complexity of identity and challenge systems that seek to define and limit who we are.

Reading Time: 3 minutes

In 1985, Donna Haraway released her Cyborg Manifesto, which displayed her vision on identity that is beyond traditional boundaries of gender, class, and biology. For Haraway, the cyborg was a symbol of resistance to social structures that have the purpose of defining who we are based on categories. Fast forward to 2018, Janelle Monáe’s Dirty Computer explores similar themes. Janelle Monáe’s song paints a picture of a future where people who don’t conform to societal norms are persecuted. In Dirty Computer, Monáe creates an image where individual expression is a form of rebellion. Together, Haraway’s manifesto and Monáe’s album imagine a future where identity isn’t structured and where standing up to conformity is seen a survival.

Cyborgs: Breaking Down Boundaries

The cyborg described by Haraway does not fit perfectly into categories like: human, machine, male or female. For Haraway, the cyborg is a metaphor for how identity is not easily boxed into one thing. Identity is something that exists in a fluid space, always shifting, and doesn’t stick to the binaries of society. This same concept is exactly what Janelle Monáe explores in Dirty Computer. In song like “PYNK,” Monáe celebrates womanhood but does so in a way that doesn’t confine it to biology or societal definitions. The lyric “Pink, as we all go insane” suggests shared experiences among women that no woman will perfectly fit societies standards and that it is fine to reject rigid labels. Similarly, in “I Like That,” Monáe embraces her multifaceted identity, showing us that it’s okay to exist outside the lines society draws for us.

Post-Gender Dreams and Dystopian Realities

A major concept in Cyborg Manifesto is the rejection of essentialism—the idea that who we are is defined by our biology. Haraway imagines a post-gender world where identity is not bound to traditional categories. The dream of fluidity is also central to Dirty Computer. Monáe’s album is a reflection of the real world, where gender norms and expectations can be suffocating. Those who don’t conform are labeled as “dirty,” but rather than run from that label, Monáe’s embraces it. The album becomes a celebration of self-expression and defiance against a system that tries to erase non-conforming individuals. Both Haraway and Monáe suggest that embracing our complex, hybrid identities is where true change lies.

Surveillance, Control, and the Fight for Autonomy

In both of these works, there’s a focus on how society uses surveillance and control to police bodies. Haraway’s cyborg exists outside of these systems and resists the forces of patriarch, capitalism, and colonialism that try to categorize and exploit people. Similarly, Monáe’s “dirty computers” are under constant surveillance, their identities erased unless they submit to societal expectations. However, both Haraway and Monáe see hope in resistance. Haraway’s cyborg resists being placed into any category while Monáe refuses to be “cleaned,” ultimately fighting back against a system that seeks to erase individuality. Claiming the parts of ourselves that don’t fit neatly into society’s boxes, is a form of defiance that both Haraway and Monáe see as something needed for the possibility of a better future.

Conclusion: Embracing the Hybrid

At first glance, Cyborg Manifesto and Dirty Computer might seem worlds apart—one is an academic essay from the 80s, and the other is a modern concept album. Both of these works are connected by their explorations of identity, fluidity, and resistance. Haraway’s cyborg represents the breaking down of boundaries between categories like human and machine, male and female, while Monáe’s album embodies the same fight for individuality in a world that demands for conformity. Together, they show us that the future does not belong to those who fit neatly into categories, but to those who resist and embrace the complexity of who they are.

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Supplemental Media:

• Music Video: https://www.youtube.com/watch?v=PaYvlVR_BEc
• Link to Haraway’s Cyborg Manifesto: https://www.youtube.com/watch?v=XiF9SBrzWoU
• Timeline Graphic: https://medium.com/@opaka/the-history-of-cyborgs-in-pop-culture-and-how-theyve-been-represented-over-the-years-d1467e929cf3