Category: Media Critique

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Donna Haraway’s Cyborg Manifesto from 1985 is a revolutionary critique of identityᅳa declaration that calls for us to reject the limiting binaries that have shaped gender, race, and power for far too long. ⁤⁤Haraway invites us to embrace our hybrid, fluid selves, unbound by the rigid categories that try to confine us. Fast-forward to 2018 and the album Dirty Computer by Janelle Monáe, which picks up this theme of defiance, mixing in futuristic visions with raw personal narratives that challenge conceptions of conformity. Both Haraway’s cyborg and Monáe’s “dirty computers” act as icons of resistance in worlds where non-conformity is viewed as one of the most dangerous yet powerful attributes. It is within Dirty Computer that I feel Monáe brings about a dystopian world which criminalizes identity, branding those who fall outside of the frameworks as “dirty” or broken. That is a fear similar to what Haraway attempts to overcome in her manifesto. For Haraway, the cyborg-a human-machine fusion-becomes a liberatory figure, one that denies male/female, human/machine, or natural/artificial. Characters in Monáe’s art also work with that very energy as cyborgs: the outcasts among those who would rather delete their queerness, their race, and their sexuality. On songs like “PYNK” and “Django Jane,” Monáe proudly harnessed in the power of beauty in one’s ability to disturb cultural order by claiming one’s spaces as fluid, not fixed.

For Dirty Computer, Janelle Monáe is celebrating queerness, blackness, and femininity as an act of resistance in concert with Haraway’s invitation for a critical disruption of the essentialist view of identity. “PYNK” becomes the love letter to womanhood in all its forms and the blurring between biology and culture that Haraway’s cyborg concedes no fixed notion of gender. But on “Screwed,” the explosive track, Monáe shows and criticizes the systems that try to control the bodies and identities, the sexiness now held captive by the rebellious energy of the cyborg as she reshapes sexuality into one more site of power.

According to Haraway, the cyborg is more than a metaphor borrowed from science fiction; it is a question about how we might reimagine our boundaries and not be afraid of the messiness of existence. And in Monáe’s “dirty computers,” there are similar acts of resistance against a dystopian force that seeks to rid them of what makes them different. In both worlds, liberation comes from impurity, from rejecting the fit of boxes, not from purity of observance to the rules, but from those very things that make us “messy”. Haraway’s cyborg and Monáe’s outcast characters both provide radical visions of a future where identity is singular and not given. Where we can be unapologetically, gloriously human or even more than human.

⁤Ultimately, Cyborg Manifesto and Dirty Computer converge on a shared idea: freedom is found in embracing the things that make us complex and contradictory. ⁤⁤Whether through cyborgs or dirty computers, both Haraway and Monáe challenge us to reject the binaries that divide us and instead celebrate the fluidity and multiplicity that make us who we are. ⁤

https://www.google.com/search?sca_esv=11403a0c534b4088&sca_upv=1&sxsrf=ADLYWIKgQc6uQnjYInBXfGh2LEYLpDGc6Q:1727584404252&q=cyborgs&udm=2&fbs=AEQNm0Aa4sjWe7Rqy32pFwRj0UkWd8nbOJfsBGGB5IQQO6L3J_86uWOeqwdnV0yaSF-x2jrJh7Dt5wV71ckxEPe_0GQyc61_Jkg5ZI9z4zNW20fWd2tUn_HrTAULuFP7u75dytEkiWC15l7moHi_nYsx6bYU7gYxjHncfuRcjwgxByi-2dbm91Px5JKg1Jotj8vdUSEMemJ8XA6RB42LqHkYBEFrl5n20w&sa=X&ved=2ahUKEwiumfC1qeeIAxWtMlkFHSycCyIQtKgLegQIERAB&biw=714&bih=778&dpr=2

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In Cyborg Manifesto, Haraway advocates for a post-gender world where rigid categories such as male/female, human/machine, and natural/artificial are disrupted. The cyborg, for Haraway, is not just a technological entity but a metaphor for the dissolution of binary boundaries. It represents the possibility of existing outside of traditional structures, particularly those imposed by gender, race, and species.

Monáe’s Dirty Computer echoes this notion of fluid identity, blending science fiction with themes of personal and collective liberation. The album’s protagonist, Jane 57821, lives in a dystopian world where individuals who do not conform to societal norms—whether related to gender, sexuality, or individuality—are “cleaned” or erased. Like Haraway’s cyborg, Monáe’s characters challenge these constraints by embracing their complexity. Songs such as PYNKcelebrate the fluidity of both gender and sexuality, rejecting the idea of binary categories, while Q.U.E.E.N. directly critiques societal pressures to conform, encouraging resistance to those expectations.

Through Dirty Computer, Monáe invokes a vision of identity that mirrors Haraway’s cyborg: one that is hybrid, undefined by rigid social structures, and capable of existing in multiple forms at once. Central to Haraway’s manifesto is the idea of resistance to systems of domination. The cyborg, as an entity that crosses borders between the natural and artificial, represents defiance against patriarchal, capitalist, and technocratic forces. For Haraway, the cyborg is a figure of radical resistance, existing outside the boundaries of human and machine, male and female.

Monáe’s Dirty Computer similarly centers on themes of defiance. Set in a dystopian society where non-conformists are punished, the album’s characters fight against a system that seeks to erase their uniqueness. Tracks like Django Jane serve as declarations of resistance, with Monáe asserting her power as a black, queer woman in a world that tries to contain and limit her. Much like Haraway’s cyborg, Monáe’s narrative resists societal categorization, instead celebrating the diversity of experiences and identities that do not fit within prescribed norms.

The characters in Dirty Computer embody Haraway’s ideal of the cyborg as a figure of rebellion, pushing back against the forces that seek to erase non-conforming identities. Both Haraway and Monáe celebrate this act of resistance as an essential element of liberation. Both Donna Haraway’s Cyborg Manifesto and Janelle Monáe’s Dirty Computer challenge traditional notions of identity and explore the relationship between the individual and systems of power. By embracing the concept of the cyborg, Haraway imagines a world where fixed categories no longer apply, allowing for greater fluidity and resistance to oppression. Monáe’s Dirty Computer brings these ideas to life through music, using the metaphor of the “dirty” computer to represent non-conforming individuals resisting societal control.

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In Haraway’s “Cyborg Manifesto”, many of the concepts that are major issues and factors today are not as important and even transcended. When thinking about gender and biology, the idea of a cyborg goes past those forms and surpasses gender as a whole. Things like race and species become blurred and identity becomes a fluid concept. In that way, Haraway uses Cyborgization as a way to overlook these categories and to focus on technology and the changes that the world would experience rather than staying conformed to gender, sexuality, and etc.

In Monae’s album “Dirty Computer”, Monae also explores what Haraway does in her manifesto but in the way that those who do not conform to the norm are abnormal such as if a device was malfunctioning and needs to be corrected. Many of the songs on her album challenge the norms that we are stuck in due to things such as sexuality, gender expression and more not fitting within those context. It also focuses on identity and how complex one is rather than just being there biological gender and race but also the implications that that has within the system.

Overall, both works share a similar passion in the way that they both want to defy the standards set within the context that we are held in today. As a cyborg, things like gender and race are not the focus and there’s more than just what categories one fits in. Then also that being different that what is normal to people is not a crime and that expressing oneself and being different is okay rather than being seen as in the wrong. In both works, both Haraway and Monae envision a world where people can transcend being held back and to truly be free to be without borders and boundaries.

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Donna Haraway’s “Cyborg Manifesto” from 1985 boldly questioned the inflexible limits of gender and identity, imagining a time when borders melt into an infinitely fluid field of possibilities. In 2018, Janelle Monae’s album “Dirty Computer” presents a vivid tale of a dystopian society that punishes nonconformity and celebrates the richness of identity. This record resonates closely with Haraway’s views.

Haraway advocates for an identity that is not limited by binary classifications and uses the cyborg as a symbol of liberation from traditional gender norms. Monae’s art incorporates this idea very subtly. Songs like “Django Jane” support Haraway’s claim that we are all capable of creating our own identities by showcasing the strength of personal expression and defiance of social standards. The words by Monae encourage us to accept our complex identities rather than fitting into preconceived notions that are imposed by the media.

Monae and Haraway both highlight the ways in which identity and technology intertwine. Technology is used as an instrument of oppression as well as a method of emancipation in “Dirty Computer.” Themes of control and monitoring are present in the title track, which echoes Haraway’s cautions about the ways in which technology might strengthen pre existing power systems. But Monae also shows how accepting one’s “dirty” identity may undermine these very systems, just like the cyborg challenges patriarchal myths.

Through her art, Monae encourages us to consider our identities in the face of social pressure. The “PYNK” music video embodies Haraway’s concept of fluidity and interconnection, offering a forceful celebration of many bodies and identities. It serves as an example of the value of embracing one’s individuality and the beauty found in variety, despite social pressures.

If you want to go deeper, reading Haraway’s book and listening to Monae’s album together will help us better comprehend what identity means in modern culture. Their combination of concepts draws attention to the continuous battle for authenticity in a society that frequently rewards conformity.

https://www.billboard.com/music/pop/janelle-monae-interview-dirty-computer-tour-8472705

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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.

Reading Time: 2 minutes

Haraway’s “Cyborg Manifesto” and Janelle Monáe’s Dirty Computer both offer a bold, futuristic vision where the idea of identity, especially around gender and sexuality, is fluid and constantly evolving. In her manifesto, Haraway talks about breaking down the rigid boundaries between categories like human/machine and male/female. She imagines a world where we aren’t boxed in by these binaries, which opens up the potential for freedom in how we define ourselves. Now, fast forward to Dirty Computer—Monáe takes these ideas and brings them into a dystopian, yet deeply personal, narrative.

Take the track “Pynk,” for example. It’s all about celebrating femininity, but not in a way that fits traditional molds. It’s soft, it’s loud, it’s unapologetic—and it speaks to the kind of fluid identity Haraway describes. Monáe embraces this non-binary, post-gender freedom by blending themes of queerness and empowerment, pushing back against societal labels in the same way Haraway’s cyborg refuses to be neatly categorized. Then there’s “Screwed,” where Monáe addresses how systems of power try to control bodies—sexuality, gender expression, freedom of identity—echoing Haraway’s critique of oppressive structures that enforce conformity.

What’s cool about Monáe is how she doesn’t just theorize; she lives this rebellion. Just like Haraway’s cyborg, Monáe’s characters refuse to be sanitized or “fixed.” Instead, they celebrate their “dirtiness”—their difference—as a form of resistance. It’s as if Monáe’s album is the soundtrack to Haraway’s post-gender, post-binary future, where being a hybrid, being fluid, is the ultimate rebellion against a world that tries to erase individuality. Monáe’s vibrant artistry and thought-provoking lyrics challenge us to embrace our complexities and redefine what it means to be human in a rapidly changing world.

As someone who loves Janelle Monáe (and who wouldn’t?), it’s exciting to see how she channels these deep philosophical ideas into something that also makes you want to dance, think, and maybe even shout. Monáe takes the cyborg concept and gives it a groove.