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In her “Cyborg Manifesto,” initially published in 1985, Donna Haraway sees the conflation of body and technology as constitutive of the cyborg—a hybrid of machine and organism in which technologies of communication and biotechnologies articulate the polymorphous recrafting of bodies.1 The productivity of Haraway's theory lies in its postulation that the cyborg, as a creature without origins that forms itself through the confusion of boundaries (between the human and the animal, the natural and the artificial, the body and mind), is a fiction that nevertheless maps “our social and corporeal reality” and allows us to imagine beneficial couplings which undo identity in terms of mutability.2 This proposition is concomitant with Judith Butler's postulation of corporeality as performativity, an act of imitation, identification, or melancholic subjection to social norms which is always a reenactment of norms.
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