Though both are bound in the spiral dance, I would rather be a cyborg than a goddess.
Interpretation
The quote suggests a preference for a technologically enhanced existence over an idealized natural state of being.
In this quote, Donna J. Haraway expresses a unique view of identity and existence, proposing that being a 'cyborg'—a hybrid of machine and organism—might be preferable to the traditional notion of a 'goddess' which often represents an unattainable, pure ideal. The 'spiral dance' indicates the complexity and interconnection of life, technology, and identity, suggesting that embracing a cyborg identity allows for a richer, more nuanced experience of existence in contemporary society.
In practice
In a lecture on the integration of technology and humanity, one might quote this to provoke thought on modern identity.
In a sense, a cyborg has no origin story in the Western sense – a ‘final’ irony since the cyborg is also the awful apocalyptic telos of the ‘West’s’ escalating dominations of abstract individuation, an ultimate self untied at last from all dependency, a man in space.
It is not just that science and technology are possible means of great human satisfaction, as well as a matrix of complex dominations. Cyborg imagery can suggest a way out of the maze of dualisms in which we have explained our bodies and our tools to ourselves.
Cyborg writing must not be about the Fall, the imagination of a once-upon-a-time wholeness before language, before writing, before Man. Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other...
Late twentieth-century machines have made thoroughly ambiguous the difference between natural and artificial, mind and body, self-developing and externally designed, and many other distinctions that used to apply to organisms and machines. Our machines are disturbingly lively, and we ourselves frighteningly inert.
Irony is about contradictions that do not resolve into larger wholes, even dialectically, about the tension of holding incompatible things together because both or all are necessary and true. Irony is about humour an serious play. It is also a rhetorical strategy and a political method, one I would like to see more honoured within socialist-feminism.
By the late twentieth century, our time, a mythic time, we are all chimeras, theorized and fabricated hybrids of machine and organism; in short, we are cyborgs.
A ship's engine far away on the water expands the summer-night horizon. Both joy and sorrow swell in the dew's magnifying glass. Without really knowing, we divine; our life has a sister ship, following quietly another route. While the sun blazes behind the islands.
In an age of speed, I began to think nothing could be more exhilarating than going slow. In an age of distraction, nothing can feel more luxurious than paying attention. And in an age of constant movement, nothing is more urgent than sitting still.
Money for me has only one sound: liberty.
I wondered, as I wondered so often when I was that age, who I was, and what exactly was looking at the face in the mirror. If the face I was looking at wasn't me, and I knew it wasn't, because I would still be me whatever happened to my face, then what was me? And what was watching?
Nobody in France would ever say 'He's a Jewish novelist' or 'She's a black novelist,' even though people do write about those subjects. It would look absurd to a French person to go into a bookstore and see a 'Gay Studies' section.
Old ideas can sometimes use new buildings. New ideas must use old buildings.
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