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| − | <div style="float:right; font-size:100%; border:#A2A9B1 solid 1px;">__TOC__</div> | + | {{CharacterInfo |
| − | Creeber (2004) talks about the subjective form of contemporary television drama.
| + | |image = |
| | + | <gallery> |
| | + | File:Lain.jpg|Anime |
| | + | </gallery> |
| | + | |gender = Female |
| | + | |age = 14 ([[Serial Experiments Lain (anime)|anime]]), 11-14 ([[Serial Experiments Lain (game)|game]]) |
| | + | |family = [[Yasuo Iwakura]] (Father), [[Miho Iwakura]] (Mother), [[Mika Iwakura]] (Sister) |
| | + | |affiliation = [[Knights of the Eastern Calculus]], [[Tachibana General Laboratories]] |
| | + | |navi = [[Children's NAVI]], [[Handheld NAVI]], [[Lain's NAVI]] |
| | + | |debut = [[Layer 01]] |
| | + | |featuredin = [[Serial Experiments Lain (anime)|Anime]], [[Serial Experiments Lain (game)|game]], [[manga]] |
| | + | |location = [[Lain's House]], [[Shibuya]] |
| | + | |voiceactors = [[wikipedia:Kaori Shimizu (voice actress)|Kaori Shimizu]] (Japanese), |
| | + | [[wikipedia:Bridget Hoffman|Bridget Hoffman]] (English), Lucila Gómez (Spanish)}} |
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| − | Give some examples of [http://en.wikipedia.org/wiki/Cybernetic cybernetic] systems at play in [http://en.wikipedia.org/wiki/Serial_experiments_lain specific visual texts]. What metaphors of the body in contemporary society do they suggest? And to what commodity end are they marketed?
| + | '''Iwakura Lain''' (岩倉 玲音 ''Iwakura Rein'', also rendered as レイン, ｌａｉｎ or れいん) is the main protagonist of the series. She is female, 14 in the [[Serial Experiments Lain (anime)|anime]], 11–14 in the [[Serial Experiments Lain (game)|game]], and of an unknown age in other works. Visually, she is characterized by her short, brown, asymmetrical hair, one lock of which is secured by a [[Lain's Hairclip|hairclip]]. [[Masami Eiri]], in his desire to conquer reality, uses her as a pawn. |
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| − | ==Introduction== | + | == Personality == |
| − | Serial Experiments Lain explores the cybernetic system of Lain's modified body. The text suggests a desire to escape the hindrance that is the body in contemporary society. Lain's body is a working body within the productive system of capitalism, a gendered body that is coded with patriarchal historical discourses, a ‘sick’ body of Japanese youth that fails at social communication, and finally a cybernetic body that is a collection of interactive processes.(Pinsky, 2003: 133) As individual's and their bodies cannot be absent from their historical and cultural narratives, (Borer, 2002) Serial Experiments Lain presents us with the paradoxical nature of commodity culture. While fiction may offer us an escape from the body, or the possibility of inverting power relations, these utopic visions cannot be achieved under capitalism/patriarchy. | + | Across all the works in the ''Serial Experiments Lain'' series, Lain is portrayed as introverted, shy and quiet. Her preferences are also quite childish, and she possesses a large number of toys and other child-themed objects. She often derives comfort from these objects when she is afraid, akin to a security blanket. |
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| − | Serial Experiments Lain explores the evolutionary ramifications of becoming cybernetic, and thus offers a metaphor for current debates on the future of the species. By suggesting the irrelevance of the body, Lain promotes active individual consumption and a future that involves engaging increasingly with private entertainment media.
| + | When it comes to interacting with others, she often has trouble making eye contact and having fluent conversation, many exchanges with her classmates involving long pauses in her speech, and often looks visibly uncomfortable when asked questions. She usually does not speak unless spoken to and appears to find both talking to strangers and being the center of attention to be intimidating. Because of this, she has very few friends. However, on the Internet, Lain feels much more comfortable around people and is able to talk to them more easily, although she does not feel close to online acquaintances. |
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| − | Conceptual tools from Deleuze and Guattari will be used to help to understand Serial Experiments Lain. Lain's character will be theorized as an autopoietic body without organs who exists in a different mode. Furthermore, Deleuze and Guattari's Re/Deterritorialization will be utilized to express the cyclical nature of Lain's existence and the wider system in which we all exist.
| + | Generally, Lain appears to be indifferent to her surroundings, but she is actually very sensitive and worried about how others perceive her. As a result, Lain appears to be very concerned with her actions and how they affect other people, being terrified of being by herself or being universally rejected by everyone. |
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| − | ==The Body Politic==
| + | Due to her lack of close family or friends, Lain is often very lonely and can become unhealthily attached to anyone she feels treats her nicely, to the point of obsession. As a result, she often worries even more how people who know her perceive her and is quick to doubt herself and her friends; however, when she interacts with them, she feels elated and far more optimistic. If anyone she is close to leaves her life, Lain becomes heartbroken and worries about the others that remain. She is fiercely loyal to those she cares about and tries her best to care for them, although she often worries that she is not doing a good job of doing so. Terrible things happening to people, regardless of whether they are close to her or not, seem to deeply emotionally disturb Lain, often causing her to cry. |
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| − | In [http://www.youtube.com/watch?v=r5Owi-sL2d8 Layer 13: Ego], Lain abandons her body in favor of becoming a cybernetic system that exists everywhere. What is the significance of Lain (as an adolescent girl) leaving her corporeal body? The ‘body politic’ is a productive body that serves a certain function, and a subjected body turned into an object of knowledge. (Foucault, 1975: 26–28) Lain's body is a useful force: Discipline increases the forces of the body (in economic terms of utility) and diminishes these same forces (in political terms of obedience). Discipline dissociates power from the body. (Foucault, 1975: 138) In the real world, Lain has little control over her body. She is made to study silently and productively in the uniformity of the classroom. The learning machine of the school ensures obedience and a better economy of time, while emphasizing hierarchy and supervision. Each individual is assigned a place, a desk to make the simultaneity of work possible. (Foucault, 1975: 147) Lain's time at school is a time of good quality where the body is constantly applied to its exercise. (Foucault, 1975: 151) Start at 7mins
| + | If Lain is completely alone, she becomes desperate and afraid of her own inner faults. In order to distract herself, Lain often throws herself into a specialization that interests her, such as programming or psychology and further isolated herself. However, extended periods of solitude cause Lain to begin to lose her mind, and she eventually neglects herself and becomes extremely depressed. It is possible that being left alone too long could result in her suicide. |
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| − | This scene in [http://www.youtube.com/watch?v=chPfqf1hpLg Layer 10: Love], emphasizes the uniformity and productivity of the classroom through the brown monochrome of the students. Arisu says to Lain “you’re not needed in the real world.” By the end of the series, Lain's body is no longer a useful economic body. The body is a social construction whose value depends on the context from which it resides.(Fingerson, 2006: 73) The female body, while devalued compared with the male body, undergoes more mutation and transformation. The disembodied, cybernetic future renders absent certain reproductive, fleshy characteristics of a woman's body. (Squires, 2000: 367) The status of the body is particularly important for teenagers, as girls learn that anything menstrual-related is of less value because it is synonymous with the powerless. (Fingerson, 2006: 73–79) As a working body and a female adoloscent body, Lain's physical existence is a burden. By becoming a cybernetic system, Lain is perhaps able to escape certain historical discourses encoded upon her body. Suggestions that Lain may have [http://en.wikipedia.org/wiki/Asperger_syndrome asperger syndrome] due to her restricted ability to interact socially with friends and family, add yet another reason for Lain to escape her body. She is shy, wearing bear pajamas and a hat to shield herself from those around her and remain childlike. Lain is trapped inside a body that doesn't fit, and she feels alienated from that body. In the Wired, she can be powerful, bold, intuitive and assertive. According to an article published in [http://www.theage.com.au/world/tokyo-killer-posted-plans-on-internet-before-rampage-20080609-2nxu.html The Age] in light of the recent stabbing of seven people by a manga enthusiast, Japanese youth are increasingly alienated, lacking the skills to communicate with each other and express their feelings. This knifing rampage was labeled an ‘indirect suicide’ as the killer must have been seeking death himself. Lain's body is a metaphor for alienated youth everywhere who feel they belong somewhere else.
| + | When Lain is afraid, she will often want comfort from others, despite rarely approaching them directly, not wanting to burden them. If she cannot get comfort from other people, she will hide behind objects she designates as security blankets, like her bear pajamas, [[NAVI]], [[Bike-chan]], or [[Progenetis]]. If she is truly terrified or overwhelmed she will have what appears to be a panic attack of some kind, curling into a ball and shaking, apparently completely immobilized. |
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| − | At the end of the series, Lain's body no longer exists physically in the real world. However, it is interesting that Lain is still represented by the image of her female adolescent body. While the physical body always remains located within historically specific discourses and practices, (Hallan, Hockey and Howarth, 2001: 66) does the imaginary body? Perhaps the imagined body doesn't carry the same historical weight as the real body. Lain says ‘[http://www.youtube.com/watch?v=L_ueyDW_GEs I’m still me]’ but can this ‘me’ ever be separated from its origins? Cyber feminists believe it can as they hope to reject a science of origins and embrace multiple overlapping subjectivities (Hables Gray and Mentor, 1995: 229) Sadie Plant notes that patriarchy is ‘an economy, for which women are the first and founding commodities.’ (Plant, 2000: 266) Lain's nymph-like appearance is a source of pleasure or [http://en.wikipedia.org/wiki/Fan_service fan-service], especially when fiddling with her Navi in a white nightie (see clip below). As [http://iblogmedia.wordpress.com/2008/05/25/cyborg-love-it-or-hate-it-it-is-there-with-you-it-is-there-in-you/ Screen Jam] notes when discussing Lain as a “gendered and territorialized” cyborg body, her naked teenage body is emphasized throughout the series. Most notably, Lain is sexualized at the end of each episode when her body is naked and connected to wires in true cyborg fashion. Also, this scene in [http://www.youtube.com/watch?v=xyxMvs_uIuU Layer 3: Psyche] depicts Lain (at 6.50 mins) wearing very little clothing to avoid static electricity.
| + | When it comes to Lain's specialization skills, she is extremely curious and hungry for information, avidly consuming information at astonishing speeds and learning very quickly. It does not take her long to become an expert on a subject, and she shows extreme prowess in both hardware and software, as well as aspects of philosophy, psychology and sociology. She appears to be able to analyze, recall and process data very quickly, working at high speeds and often doing several things at once. Many tasks that are difficult for experts are easy for her. Despite appearing to be highly intelligent, Lain is an extremely poor student, having a difficult time paying attention in class. |
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| − | The body itself is invested by power relations (Foucault, 1977: 24) The soul is the effect and instrument of the political anatomy; the soul is the prison of the body (Foucault, 1977: 29) By escaping her body, Lain is able to escape the power relations invested within it. Gendered power relations are often inverted in the Wired. A number of games depict grown men afraid and running away from little girls. In [http://www.youtube.com/watch?v=_BQ3eeC68SI Layer 4: Religion],(at 5 mins) a man screams in agony at the sight of a small girl in a pink dress with pig-tails. Furthermore, Lain is worshipped as a God in [http://www.youtube.com/watch?v=s3ZMOv7OtaI Layer 6: Kids] and is the most powerful being in the Wired. Through the character of Lain we can envision an inversion of power relations. However, Lain's body is a sexualized teen body that is heavily coded with historical discourses, and packaged as a consumable commodity. Lain's body is the marketing point for the whole series. The series exists so firmly within commodity culture, that any attempt to envisage an escape or an inversion is immediately interrupted. This will be conceptualized in relation to Re/Deterritorialization later.
| + | Lain seems to consider herself to be abnormal and often blames herself for bad things that happen around her or the troubles of loved ones, becoming easily depressed. She also often feels isolated from society and alone, and seems to want to fit in more than anything, but her shyness and social anxiety often gets in the way. Lain is also very easily embarrassed, which further worsens her low self-esteem and shyness. She often struggles with her [[identity]] due to the circumstances around her, a struggle that often confuses and frightens her. |
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| − | Cyberfeminists view the Net as an anarchic, self-organizing system where genders can be blurred and identities can become fluid. (Plant, 2000: 266–268) Lain demonstrates that identities can become fluid as we embrace multiple subjectivities in becoming cybernetic. It also demonstrates that perhaps we need a new paradigm to fit our new complex and contradictory existence.(Gonzalez, 2000: 61) However, the gendered discourses that encode our physical and imagined bodies are not as easily discarded. It seems that anything working from within the systems of capitalism and patriarchy (and it is pretty much impossible to work from without) cannot escape gendered discourses.
| + | When Lain finally feels that she has discovered her identity, she is at peace and seems to be quietly content with herself, her previous self-doubts becoming minimal. |
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| − | ==Evolution== | + | === Other Personalities === |
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| − | The pre-millennial, apocalyptic moment of 1997 is transposed onto the body of Lain. Due to the destruction of the 20th century, Japan is a country distanced from its traditional history, and the sacrifice of children in Japanese anime is a common theme.(Napier, 2001: 199) The historical moment of 1997 is a moment where human bodies are vulnerable to threats of AIDS, cancer, nuclear war, overpopulation, environmental disasters and environmental destruction. (Springer, 1996: 27) If the physical future of the human species is questionable, then perhaps we need to adapt in order to survive. Lain advocates this need to adapt and ‘preserve human consciousness outside the body.’ (Springer, 1996: 27) In [http://www.youtube.com/watch?v=vJYiWeiaG6U Layer 12: Landscape], the voice over says.. The body is nothing but a machine. If the physical limitations of the body restrict mankind's evolution, it would be as if the fall of the species called ‘man’ had already been decided by a God that didn't exist. We need to adapt for survival but survival has become suicide. (Springer, 1996, 27) Is this suicide or just existence in a different mode? It is a very interesting historical moment in which we live, as organic evolution is replaced or joined by ‘mechanical’ evolution. (Horner, 2001: 73) Looking at this in terms of [http://en.wikipedia.org/wiki/Darwinism Darwinism] means that new technologies have the potential to divide the species into two. (Horner, 2001: 76) There are those, like Lain and Chisa, who embrace cybernetics and realize the irrelevance of the body, compared to those who view the abandonment of the body in conjunction with the destruction of human beings. (Springer, 1996: 11) Furthermore, technology is hierarchical, and survival may depend on having the economic means to finance a cybernetic self.(Springer, 1996: 41–42)
| + | Lain's personality becomes another matter entirely when her alter-ego, the so-called "Lain of the Wired", steps into Lain's flesh body to act directly in the real world. In times of extreme stress, Lain's disembodied self might briefly inhabit her flesh body, suddenly causing a surge of confidence and brashness backed up by superhuman power. This personality appears fearless and ruthless, but not cruel (not to be confused with [[Evil Lain]], the spinoff identity created by the Knights' hacking). She is also much more socially comfortable in this state, although this social comfort level seems to come and go coincident with Lain's visits to Cyberia, where unusual mind-altering technology exists. This "Lain of the Wired" personality also exists independent of Lain Iwakura the human; they seem to only share experiences part-time. |
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| − | Lain poses some interesting questions concerning the way in which human evolution is approached. Also in Layer 12, “God” takes on an anthropocentric view, whereby human's are the centre of existence and thus may exercise power over animals, plants or other humans who lack access to evolutionary technologies. Lain asks “God” the question “Who gave you those rights?” The dialogue between Lain and “God” in this scene perhaps acts as a metaphor for current dialogue over ethics concerned with technology. One example is [http://en.wikipedia.org/wiki/Cloning Cloning], where [http://library.thinkquest.org/24355/data/reactions/proconmain.html debate] exists over the ethics of making copies of organisms. One side says that cloning is like “playing God” and interfering with the natural process, while the other points to the scientific and medical benefits. A sense of ambivalence about the future survival of human beings emerges as a reflection of these debates. (Springer, 1996: 11) This current concern with the cybernetic can be placed within the context of an ongoing ontological concern with the nature of the self. (Squires, 2000: 362) Serial Experiments Lain seems to support new communications technologies that facilitate the eradication of public life, in favor of a new private life centered around television, video games and the internet.(Haraway, 2000: 306) Lain's [http://en.wikipedia.org/wiki/List_of_Serial_Experiments_Lain_media media products] (DVD, PlayStation game, manga) all promote consumption as an individual pastime. Bauman contends that even when consumers do share physical spaces of consumption, (shopping centres, concert halls, tourist resorts) there is little actual social interaction. (Bauman, 2000: 97) Lain's text evokes existence in a different mode where physical social interaction need not be feigned. Furthermore, new entertainment media look to more active opportunities for consumption as opposed to passive television watching. (Borer, 2002) A sense of liberation or community may be evoked through interaction with virtual worlds, fan sites etc.. Therefore, in its content and its existence as a consumer product in commodity culture, Serial Experiments Lain promotes active individual consumerism.
| + | Yet a third personality also exists, apparently resulting from outside tampering upon both of the others. This third personality, is a cruel, inhuman prankster, and is apparently comfortable committing both mischief and murder. Like Lain of the Wired, it exists primarily in the Wired but is also capable of inhabiting and controlling Lain Iwakura's human body on occasion. |
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| − | ==Body without Organs and autopoiesis== | + | == Anime Biography == |
| | + | At the beginning of the anime, Lain is technologically illiterate and extremely shy. She hardly even checks her email and is visibly uncomfortable when doing so. While operating her old [[children's NAVI]], she puts on a bear hat. This, like her [[bear suit]], provides comfort to her and helps her face situations that she is intimidated by. |
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| − | Lain can be conceptualized using Deleuze & Guattari's notion of the [http://en.wikipedia.org/wiki/Body_without_organs Body Without Organs]. In [http://www.youtube.com/watch?v=_BQ3eeC68SI Layer 4: Religion], the female voiceover that opens the episode says: I do not need parents. Humans are all alone. They are not connected to anyone at all. The full BwO rejects: ...any attempt to impose on it any sort of triangulation implying that it was produced by parents. (Deleuze & Guattari, 1983: 15) | + | Lain's behaviour changes when she gets a proper [[NAVI]]. When online, she behaves much more confidently and assertively. Another Lain, commonly referred to by the fandom as "evil Lain", already exists in the Wired and, according to Lain in [[Layer 08]], acts like the part of Lain that she hates. |
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| − | [http://www.youtube.com/watch?feature=player_embedded&v=3vfBcH34xwU Family dinner] – 3.50-5 mins Lain's relationship with her parents lacks the warmth and openness that typically characterize familial relationships. Their house is minimalist, sterile and quiet. The family members find it difficult to communicate with each other and their faces, especially the mother's, are inanimate. The BwO is a witness of its own self-production and of its own engendering of itself. (Deleuze & Guattari, 1983: 15) Therefore, the BwO is also an [http://www.cs.ucl.ac.uk/staff/t.quick/autopoiesis.html autopoietic] machine. It is a machine of self-creation that can engender and specify their own organization and limits. (Guattari, 1995: 39) Lain is an autopoietic body without organs. Lain can control and manipulate herself and her body through her interaction with the Wired. While this might suggest that Serial Experiments Lain advocates the irrelevance of the family, Lain's conclusion rests on the triumph of humanism over machinic and technological power. (Colman, 2003)
| + | Lain appears to be highly intelligent and has a range of skills. The anime shows her learning extremely quickly how a NAVI functions and can even help the [[boss]] of the [[Men in Black]] repair his extremely old NAVI. Also, the [[manga]] shows some of Lain's skills in programming, as she modifies her plush dog, [[Bike-chan]], to be able to bark. In the [[Serial Experiments Lain (game)|game]], Lain becomes interested in psychology and is able to use that knowledge on [[Touko Yonera]], her therapist, when she becomes unstable. |
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| − | At 8 mins of [http://www.youtube.com/watch?v=r5Owi-sL2d8 this clip], Lain's father authoritatively says “Come, Lain.” As they talk, surrounded by the beautiful flame-coloured sky, the music evokes an emotional response as Lain realizes that she loves everyone. Perhaps then, rather than the dissolution of the family, it is just existence of love and relationships in a different mode rather than the traditional triangular parental relationship. | + | She is quite distant from her [[family]] and rarely speaks at home. At [[school]], she is similarly quiet, although she begins to hang out with [[Alice Mizuki]], [[Reika Yamamoto]] and [[Juri Katou]]. Of the three, only Alice seems to have any real emotional connection with her. |
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| − | In Lain:
| + | Lain is revealed to be the product of the human collective unconscious that took form in the Wired. This means that there is a different image of Lain in each person's mind, represented by the chattering Lain mannequins in [[Layer 08]]. This led to Lain's [[identity]] crisis that forms a major plot point in the anime. |
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| − | Everyone is connected
| + | Lain considers herself to be a being that exists only in the memories of others, so when she edits herself out during the [[reset]], it is almost a form of suicide - although the Wired itself still retains her data, there are no people who truly remember her. |
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| − | rather than no one, or just some people.
| + | {{AnimeCharacters}} {{GameCharacters}} [[Category:Characters]] |
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| − | ==Deterritorialization==
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| − | Deleuze and Guattari's ‘Deterritorialization’ (D) is of use in theorizing Lain's place in the cycle of commodity culture. D is the movement by which one leaves the territory. It is the operation of the line of flight. (Deleuze and Guattari, 1987: 508) Serial Experiments Lain adopts the discourse of cyborg theory and cyberfeminism through Haraway's eradication of boundaries. For example, the eradication of the boundary between the real world and the Wired, dead and living, physical and non-physical is broken down in [http://www.youtube.com/watch?v=9TbgGlSUEus this scene] when Lain talks to Chisa. (from 6 mins-7 mins)
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| − | The text thus leaves the territory of capitalism and patriarchy founded on binaries. This was elaborated on in an [[To What Commodity End are Concepts of the ‘Post-Human’ and the ‘Cyborg’ Marketed? Give screen and theoretical examples of each.|earlier post]]. The text is then reterritorialized: D may be overlaid by a compensatory reterritorialization obstructing the line of flight. (Deleuze and Guattari, 1987: 508) As Serial Experiments Lain exists within the systems of capitalism and patriarchy, a reterritorialization occurs on the ideal/fantasy of escape. Although it may be imagined that the binaries of patriarchy may be escaped through fiction, as a form of entertainment media that is made to be consumed, Lain exists within the system of capitalism. D is in turn inseparable from correlative reterritorializations. (Deleuze and Guattari, 1987: 509) In this context, R is associated with capitalism and capitalism is an inescapable force. The D, in this case, is said to be negative because there is always a R obstructing the line of flight. Lain helps us to understand the cyclical nature of the systems of capitalism and patriarchy under which we live and from which we can't escape.
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| − | ==Conclusion==
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| − | Serial Experiments Lain offers several metaphors of contemporary society for us to ponder. The nature of machines and how they are packaged and marketed in commodity culture emphasizes the way almost everything exists for consumption. The inescapability of the body and our constant consumption of the body means it is concretely embedded in commodity culture and historical discourses. Even debate over the evolution of the human species is packaged as a consumable product. It seems as though commodity culture can only be escaped through an absolute Deterritorialization: D is absolute when if conforms to the first case and brings about the creation of a new earth, in other words, when it connects lines of flight, raises them to the power of an abstract vital line, or draws a plane of consistency. (Deleuze and Guattari, 1987: 510) I do not really believe that an absolute D is possible. As much as the utopic writings of cyberfeminists like Haraway are appealing, escaping commodity culture and the systems of capitalism and patriarchy in which it exists, is an impossibility.
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| − | ==Bibliography==
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| − | Zygmunt Bauman (2000) ‘Time/Space,’ in Liquid Modernity, Cambridge: Polity, pp. 91–129
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| − | Michael Ian Borer (2002) ‘The Cyborgian Self: Toward a Critical Social Theory of Cyberspace,’ in Reconstruction Studies in Contemporary Culture, Vol. 2, No. 3, Accessed on 26 May 2008 from: [http://reconstruction.eserver.org/023/borer.htm]
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| − | Felicity Colman (2003) ‘The Sight of Your God Disturbs Me: Questioning the Post-Christian Bodies of Buffy, Lain, and George,’ in Refractory: a Journal of Entertainment Media, Vol. 3, Accessed on 5 June 2008 from: [http://blogs.arts.unimelb.edu.au/refractory/2003/06/26/the-sight-of-your-god-disturbs-me-questioning-the-post-christian-bodies-of-buffy-lain-and-george-felicity-colman/]
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| − | Gilles Deleuze and Felix Guattari (1987) ‘Deterritorialization,’ in B. Massumi (trans.) A Thousand Plateaus: Capitalism and Schizophrenia, London and New York: Continuum, pp. 508–510
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| − | Laura Fingerson (2006) Girls in Power: Gender, Body and Menstruation in Adolescence, Albany: State University of New York Press
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| − | Michel Foucault (1975) Discipline and Punish: The Birth of the Prison, Alan Seridan (trans.), London: Penguin
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| − | Chris Hables Gray and Steven Mentor (1995) ‘The Cyborg Body Politic and the New World Order,’ in Gabriel Brahm Jr. and Mark Driscoll (eds.) Prosthetic Territories: Politics and Hypertechnologies, San Francisco and Oxford: Westview Press, pp. 219–247
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| − | Felix Guattari (1995) ‘Machinic Heterogenesis’ in P.Bains and J. Pefanis (trans.) Chaosmosis: An Ethico-Aesthetic Paradigm, Sydney: Power Publications, pp. 33–59
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| − | Elizabeth Hallan, Jenny Hockey and Glennys Howarth (2001) ‘The Body in Death,’ in Ruth Holliday and John Hassard (eds.) Contested Bodies, London and New York: Routledge, pp. 63–77
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| − | Donna Haraway (2000) ‘A Cyborg Manifesto: Science, Technology and Socialist Feminism in the Last Twentieth Century,’ in David Bell and Barbara M. Kennedy (eds.) The Cybercultures Reader, London and New York: Routledge, pp. 291–324
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| − | Susan J. Napier (2001) Anime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation, New York: Palgrave
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| − | Michael Pinksy (2003) ‘The Cyborg Body: Two Case Studies’ in Future Present: Ethics and/as Science, Madison: Farleigh Dickinson University Press, pp. 119–156
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| − | Sadie Plant (2000) ‘On the Matrix: Cyberfeminist Simulations,’ in Gill Kirchup, Linda James, Kath Woodward and Fiona Hovenden (eds.) The Gendered Cyborg: A Reader, London and New York: Routledge, pp. 265–275
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| − | Claudia Springer (1996) Electronic Eros: Bodies and Desire in the Postindustrial Age, Austin: University of Texas Press
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| − | Judith Squires (2000) ‘Fabulous Feminist Features and the Lure of Cyberculture,’ in David Bell and Barbara M. Kennedy (eds.) The Cybercultures Reader, London and New York: Routledge, pp. 360–373
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| − | (Source: [http://zoetv.wordpress.com/2008/06/10/final-essay/])
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| − | [[Category:Essays]] | |