Tag: BP03

From Manifesto to Music

Jesslyn J.
Reading Time: 2 minutes

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.

MonĂĄe’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, MonĂĄe’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, MonĂĄe 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.

MonĂĄe’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 MonĂĄe asserting her power as a black, queer woman in a world that tries to contain and limit her. Much like Haraway’s cyborg, MonĂĄe’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 MonĂĄe celebrate this act of resistance as an essential element of liberation. Both Donna Haraway’s Cyborg Manifesto and Janelle MonĂĄe’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. MonĂĄe’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.

Haraway’s Cyborgs and Monáe’s Vision of Identity

Kennedi G.
Reading Time: 1 minute

In a world increasingly defined by rigid categories of identity, Janelle Monáe’s Dirty Computer emerges as a powerful critique of societal norms, echoing the revolutionary ideas presented in Donna Haraway’s Cyborg Manifesto. Written in 1985, Haraway’s essay envisions a post-gender future where identities are fluid and transcendent of traditional binaries. Monáe’s album, released in 2018, plunges into a dystopian landscape where individuals who defy normative identities face persecution, making her exploration of identity not only timely but also deeply resonant. By weaving together themes of technology, identity, and resistance, both Haraway and Monáe challenge us to rethink the boundaries that society imposes on who we can be.

Monae’s work reflects Haraway’s ideas, particularly in tracks like “PYNK,” where she celebrates fluidity and self-expression. The visuals and lyrics in this song emphasize a sense of freedom and solidarity among marginalized identities, paralleling Haraway’s vision of a future where hybrid identities can flourish outside societal constraints. As Haraway posits that cyborgs transcend traditional classifications, Monáe’s celebration of diverse sexualities and gender identities illustrates this transformative potential.

In “Django Jane,” Monáe further embodies Haraway’s call for coalition-building among marginalized groups. The song serves as an anthem of empowerment, pushing back against oppressive systems and advocating for the recognition of varied identities. Monáe’s portrayal of herself as both a cyborg and a political figure resonates with Haraway’s assertion that the cyborg is a means of resistance against fixed identity categories.

Ultimately, both Haraway and Monáe challenge the rigid structures that define identity. Monáe’s Dirty Computer not only echoes the themes of the Cyborg Manifesto but also emphasizes the ongoing relevance of Haraway’s ideas in contemporary discussions about identity and technology. This connection invites a critical reflection on how we navigate and embrace fluid identities in a world that often seeks to impose strict categorizations.

Blog Post #3: More Human Than Human

Khalil F.
Reading Time: 2 minutes

With Haraway’s “A Cyborg Manifesto”, she explored a world where there is a utopian idea that had no need for the labels that gender brought. It dreamed of a concept where cyborgs have no sexual development and don’t need to be organic have the specific identities that people face in real life. I think that the idea is really cool, the thought of no need for certain pressures for how to live and love people, and how to be a person based on what people thought of your own gender. In Janelle Monae’s album “Dirty Computer”, there is a very similar idea when it comes to the conflict. In “Dirty Computer” the idea of being a woman, being queer, being a minority, was seen as something bad, or “dirty”. The main character that was shown throughout the album that was supposed to be “cleaned” of all of those thoughts and ideas. I think that it is very similar to how “A Cyborg Manifesto” was about, but in the opposite sense.

In the film that goes with the album for “Dirty Computer” the android Jane 57821 is seen struggling with her own identity as the society she lives in tries to remove all her ideas of being queer.


While “A Cyborg Manifesto” has the idea of a perfect place that doesn’t have complex ideas on what it means to be a person, “Dirty Computer” punishes people for challenging those beliefs. It is seen as something bad to a lot of people in the real world just to be different, and Haraway thought to challenge those beliefs and the concept of what identity means. I think that Monae also has a similar thought, dreaming of a world where these things do not matter, and people are simply free to be who they are. In “So Afraid”, Monae sings about how she feels scared to even admit the feelings she has. Considering that it is fine for her to stay in her shell and not be proud of who she is. But these fears are presented as a normal thing. It is okay to be scared to challenge peoples beliefs, but as seen in “A Cyborg Manifesto”, it is not necessarily a bad thing. It can actually make everyone feel more comfortable, and not weighed down by certain labels.

Material Songstress

Josiah A.
Reading Time: 3 minutes

More Human than Human

I see a lot of what Harraway discusses in her Manifesto in ArchAndroid. If you scroll through the playlist and simply look at the names of the songs, some seem very esoteric and some make sense. In the Cyborg Manifesto Harraway wants us to think about Cyborgs in an ironic political sense while also keeping it faithful to feminism and post humanist ideology. When listening to the lyrics of the songs in ArchAndroid they are very centered around the “self”. Yourself and Myself, these individual churnings of thought, how everything in the world is so crazy, how dreams of things getting better stay forever, so many expressions of love, to need someone, to not need someone, to walk the thin rope of expression and thought, to speak up and speak out and the insanity that can potentially come with it. If we were to truly think of these in the way that Harraway intended, we’d be here for hours. which leads me to my next few points, I want to touch upon a few songs from the album itself.

Dance and Die is an interesting song, in Harraway’s Cyborg Manifesto she wants us to look at Cyborgs as ourselves or rather a way to view ourselves in a personal way. within this song many people are described. Those who are suicidal, those who cry for help or more accurately crying for someone to listen to help, “zombies’ with no thought, children that kill each other, some that go to join the army, men who want to be free, men who want a stronger nation. this song is filled with so much strife and yet the title gives you two options die or dance. To dance as I see it is to keep moving forward even when you wish for it to end. To Dance to your own rhythm and like the song says, whether you are a cyborg, Android, decoy or human, these dreams will persist. How fluid the “human” is, how fluid the very consciousness that such simple and seemingly hopeless things persistent no matter what you are.

I will not lie, I feel a lot of my peers if they did something similar would probably point to “Oh, Maker” and I think it is infinitely smarter to do so when talking about these songs and how they relate to Harraway’s Cyborg Manifesto, but I simply must talk about Sir Greendown. It is such an esoteric and dreamy song. when looking at the lyrics it practically makes no sense a song potentially full of metaphors and questions. who is ‘Sir Greendown’, where exactly is this taking place, what tower is she speaking off? When I mentioned the word “dreamy” I was not joking, the melody is meant to give off the sense that it is a dream, but I believe the more interesting thing to observe is the Song itself. I believe this relates to Harraway’s Manifesto because Harraway uses the Cyborg to breakdown the distinctions between physical and nonphysical and what is more nonphyscial than a dream? Here is a dreamlike expression of love an ask of the person to wake them up at night, to come to their tower and whosk them away. Instead of a land of Milk and Honey we have a town of Walking dolphins and Cyborgs who know exactly what to do. but what happens when we awake? will Sir Greendown be here at the tower to take us away to allow our love to be reciprocated? who knows, it is a nonphysical expression something outside of the normal something that anything could dream of.

Future Funk: Janelle Monáe’s Cyborg Revolution in Dirty Computer

Makeda M.
Reading Time: 2 minutes
The cover art for Janelle Monae’s album ” Dirty Computers”

Haraway’s “Cyborg Manifesto” and Janelle MonĂĄe’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—MonĂĄe 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. MonĂĄe 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 MonĂĄe 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 MonĂĄe is how she doesn’t just theorize; she lives this rebellion. Just like Haraway’s cyborg, MonĂĄe’s characters refuse to be sanitized or “fixed.” Instead, they celebrate their “dirtiness”—their difference—as a form of resistance. It’s as if MonĂĄe’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. MonĂĄe’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.

Embracing Fluidity: Haraway’s Cyborgs and Janelle Monae’s Dirty Computer

Liyah G.
Reading Time: 2 minutes

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

Cyborgs, Dirty Computers, and the Future of Fluid Identity

Tamia P.
Reading Time: 2 minutes
The connection between human and cyborg.

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 MonĂĄe 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. MonĂĄe 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. MonĂĄe’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 MonĂĄe 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. MonĂĄe 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 MonĂĄe’s record, which presents a bold, future picture in which resistance and fluidity could result in empowerment. 

Dirty Computer & Cyborg Manifesto

Mya J.
Reading Time: 2 minutes

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.

Cyborgs to Dirty Computers: The Fluidity of Identity

Devin P.
Reading Time: 2 minutes

In 1985, Donna Haraway shook academia with her theory of identity as fluid, something that transcends rigid gender roles, in her work Cyborg Manifesto. Haraway envisioned a future where individuals are allowed to exist beyond the binary categories of the past—a future where boundaries between human and machine, male and female, have withered away into obscurity. Fast forward to the present, Janelle MonĂĄe’s album Dirty Computer tackles similar themes. Through her work, she paints a dystopia where individuals are marginalized and persecuted for differing from the norm. MonĂĄe brings Haraway’s future into the context of modern-day struggles, including gender, race, and self-expression.

In Dirty Computer, MonĂĄe portrays a future where society controls and punishes those who don’t conform to traditional expectations. The record’s central metaphor, a “dirty computer,” refers to individuals whose identities, intentions, and deeds are perceived as “glitches” in an otherwise perfect system. This bolsters Haraway’s argument that human identity should be malleable and that prejudices related to race and gender should be dismantled. Songs that challenge the listener to reject cultural restrictions on identity and embrace personal freedom include “Make Me Feel,” an anthem of LGBT empowerment, and “Pynk,” which celebrates the complexity of womanhood.

MonĂĄe’s depiction of nonconformity in Dirty Computer is akin to Haraway’s analysis of systems of oppression. In the same manner as Haraway criticizes capitalism, sexism, and established power structures in Cyborg Manifesto, MonĂĄe’s record challenges the mechanisms that aim to regulate identity. She bravely asserts her right to exist on her own terms as she tackles the intersections of race, gender, and power in songs like “Django Jane” and “Screwed.” Like Haraway’s cyborg, who stands for resistance against institutions that push conformity, MonĂĄe’s music stresses the strength of self-definition in a world that seeks to eradicate difference.

Through her work, Janelle MonĂĄe re-envisions and modernizes Haraway’s ideas for a new generation. Her accentuation of fluid identity, her critique of oppressive systems, and her denial of societal norms result in a work that is a modern embodiment of the essence of the cyborg. Much like Haraway’s manifesto, MonĂĄe’s album demands a future where identity has boundaries that have long since dissolved, and instead, are as fluid and dynamic as we choose.