Nastiness Diagnosis. Anthropology. Religion. Gender. Justice. A Personal Notepad For the General Public.
Note: the cylon hybrid– a.k.a “that schizophrenic lady in the murky tub”–acted almost as an oracle or a prophet, spouting half-nonsense, half-Jesus-Christ-monkey-balls revelations. (see Fangirls)
I want to show how thoroughly modern, how complicated, and how technology-medaited they are, just as much as we are.
We have always been cyborgs, and we have been modern from time to time. (cf. Bruno Latour).
[The Haraway Reader]
p299 Reconfiguring Kindship in Technoscience
Teh term "cyborg" was coined by Manfred clynes and Nathan Kline in 1960 to refer to the enhanced man who could survive in extraterrestrial environments. They imagined the cyborgian man-machine hybrid would be need in the next great technohumanist challenge–space flight. The travel tale is a birth narrative.
"ontologically new, historically specific entity"
"The cyborg, the enhanced comman-control-communication-intelligence system (C3I). Here, the mahcine is not other to the organism, nor is it a simple instrument for effecting the purposes of the organism. Rather the machine and the organism are each communication systems joined in a symbiosis that transforms both.
(Ibu’s interactions wiht TV news, and celebrities. They are the new technohumanist figures of the new era that they represent escape from the limits of the old religious interpretations of human behaviors and socieites)
[The Cyborg: Technological Socialization and Its Link to the Religious Function of Popular Culture by Brenda E. Brasher]
The birth date of the cyborg in the arts like much of its profile is somewhat in dispute. In literature its genealogy is linked to the onset of industrialization (Rushing and Frentz). Here, the cyborg’s inception occurred in Mary Wollstonecraft Shelley’s nineteenth-century novel Frankenstein (Shelley). Not long after Friedrich Schleiermacher penned his speeches in defense of religion arguing for an identity between the human self and the divine (Schleiermacher), Shelley wrote a very different tale of human alienation rendered through the crucible of a human cyborg. Stitched together by the surgical skill of a young doctor named Victor Frankenstein, Shelley’s cyborg was a lumbering assemblage of human parts made mobile and sentient by a fledgling surgeon’s collection of "instruments." As Shelley’s tale unwinds, the nameless cyborg and its/his creator, Dr. Frankenstein, clash over the cyborg’s desire for human sociability. Consistent with the romantic era of its/his genesis, the cyborg in Frankenstein longs to be recognized as human or at least to have a human companion; however, Dr. Frankenstein feels such revulsion for the creature from the moment he spies its/his opened "dull yellow eye" (Shelley: 86) that he rejects and abandons his creation, refusing to assume responsibility for the techno-life he assiduously had evoked. Chaos results. Enraged at the callous rebuff of its/his creator, the cyborg kills the doctor’s family and loved ones. The doctor retaliates by attempting to track down and kill his cyborg creation.
Seeking a strong and intelligent role model to model after — like a perfect robot —