ABSTRACT
In the technophilic West, netizens, infomorphs and the audio digerati triumphantlyif-precociously herald this as the dawn of disembodiment. These reality hackers dream in binary code. They yearn to manufacture human–hybrids, ethical androids and genetically programmed clones. The human–machine hybrid poetically envisioned by Donna Haraway in her influential article, 'A manifesto for cyborgs', advocates an ardently feminist position. Haraway's cyborg operates as a 'kind of disassembled and reassembled, postmodern collective and personal self', a hybrid being that ideologically questions the 'dichotomies between mind and body, animal and human, public and private, nature and culture, men and women, primitive and civilised'. In a dance track aptly called 'Drama' by Club 69, Kim Cooper, the author's favourite sassy black diva, sonically reveals the polymorphous and performative aspects of embodied sexuality. The song questions the given-ness of sexual biology by mutating Cooper's bitchy femme purr into the petulant voice of a gay-coded drag queen on the verge of a hissy fit.
