An experiment in what can be done after Haraway
- After Haraway, follow Haraway and read and think about the world to create better stories!

A book in which Professor Kim Ae-ryeong of Ewha Womans University reads, writes, and compiles the texts of Donna Haraway, one of the most influential philosophers of modern times, “after Haraway, following Haraway” and “in a usable way.”
In this book, the author focuses on “experimenting with what can be done after Haraway.”
“I learned this while reading and writing Haraway, that there could be better stories than the ones that have dominated the world so far, and that those better stories could be the force that could change the world that is falling apart,” says the author. As one of those attempts, he ‘re-examines’ the writing-machine, surrogacy, and the restoration of Cheonggyecheon and the transformation of Nanjido into a park in the name of ‘ecology’, and sets out to create a different story.

Neoliberal capitalism, the blind developmentalism that technology will solve all problems, the bleak future predictions of humanists regarding the spread of uncontrolled technology and environmental crises, and the negative narratives that take for granted the objectification and instrumentalization of all non-human beings still dominate and exert power in this world.
There seems to be no outside in this bleak situation.
But rather than focusing on dismantling bad old stories, Haraway suggests that we imagine building a better world by collecting and telling other good stories.
To do this, we immerse ourselves in a game of stringing together critters on the ground and a tentacle-based puzzle that stimulates our imagination.
So Haraway's writing makes us think about what we can do now, amidst the swirling troubles of a damaged Earth.
After Haraway, following Haraway, I hope we can begin to change our stories, engage in the practical play of creating better stories, spreading them, and building a better world. And I hope that all of this is not just a vague, optimistic hope.
We need better stories, because we know that this world, dominated by bad old stories, is no longer sustainable.

--- From "Introductory Remarks"

For Haraway, form itself is a methodology.
Although Haraway himself is reluctant to embrace the category of 'methodology', each form has its own research methodology.
Thus, to read Haraway's texts usefully, with their complex rhetorical devices and unfamiliar style, "the reader must engage with Haraway's world of suggestive, contradictory, and distorted figures and its overabundant referential systems" (Harrasser, 2011: 586). This is a surprisingly attractive invitation.
After the ambivalent response to the "Cyborg Manifesto," Haraway introduces the "sisters" of cyborgs in "Humble Witness @ The Second Millennium. Meet the Female Human ⓒ Anko Mouse TM," providing a more in-depth explanation of the background of writing technology and the meaning of figurative work.
In this book, titled "Email Address," she explains her investigative strategy, introducing the background of the cyborg figure and attempting to expand or replace it through sister figures.

--- From "Chapter 1, Part 1, Cyborg and Sisters"

Haraway's cyborg figure, first proposed in 1985, is transformed and expanded within the new temporal topos of the second millennium.
Since the "Cyborg Manifesto," the widespread dominance of information technology and genetic biotechnology has promoted the growth of cyborgs.
Cyborgs now reside within a chronotope called 'technobiopower'.
Haraway depicts the world of the second millennium through the eyes of a cyborg, a lab rat implanted with an osmotic pump.
“Cyborg anthropology attempts to provocatively reimagine the relationship at the boundary between particular humans, other organisms, and machines.” (Haraway, 2018: 52) In this shift of perspective, Haraway encounters the cyborg sisters who bear special codes.
Haraway adopts FemaleManⓒ as her 'substitute, surrogate, sister'.
'The female man' is a figure taken from Joanna Russ's science fiction novel of the same name.42
This figure lives “after the implosion of information science, life science, and economics.”
Female Humanⓒ shows the 'after' life takes the form of a commodity.
--- From "Chapter 1, Part 1, Cyborg and Sisters"

Haraway argues that an ethical relationship with animals presupposes that animals are 'responsive' beings, and therefore minimizing cruelty is not enough.
Responsibility demands more than that.
It must go beyond sympathy or pity and include recognition and respect for the dignity of the other person.
It is the responsibility of human actors to share in the suffering that must be endured by those who are capable of responding and who deserve respect.
If killing is inevitable or even required, even though it is neither good nor justifiable, Haraway argues that a responsibility to share in the suffering within that specific, situated practice is necessary.
--- From "Chapter 2, Part 1: Building Another World - The Story of Soluse"

Haraway used 'diffraction' as a visual metaphor to express critical consciousness.
Situational knowledge that starts from the position of a humble witness does not ‘reflect’ the situation, but ‘diffracts’ it.
A 'diffraction pattern' records 'the history of interaction, interference, reinforcement, and difference' created by light rays scattered through small slits (Haraway, 2005: 170).
What diffraction patterns are recorded as we pass through the eyes of a humble witness to the technological biopower regime known as "commercial surrogacy"? Under this technological biopower regime, commercial surrogacy becomes, in the most dramatic way, a body-site where the old order and the cutting-edge order intersect.
Through the bodies of commercial surrogates, the possibilities and expectations of new reproductive technologies, as well as the objectification and exploitation of women's bodies, are simultaneously realized.
In that sense, the humble witness's perspective as a 'commercial surrogate' provides contextualized knowledge that starts from the most peripheral position.

Commercial surrogacy sits on the fringes of what is acceptable in assisted reproductive technology.
Assisted reproductive technologies within that boundary are generally considered 'normal' and acceptable, and do not raise any moral or legal concerns.
Commercial surrogacy, on the other hand, presents a difficult problem to solve, a difficult choice to decide on, and a highly controversial issue.
If we were to write the narrative of technological biopower from the perspective of this humble, peripheral witness, what diffraction patterns might emerge?
--- From "Part 2, Chapter 2: Commercial Surrogacy, a Humble Witness to Technological Biopower"

Not only Russ, but also other feminist writers who devoted themselves to science fiction in the 1970s utilized science fiction as a feminist narrative strategy, believing that it could be a powerful weapon for the feminist imaginary project and “an inevitable first step toward the cultural and social transformation that would achieve the feminist political project.”63
And while reading their science fiction, Haraway saw that their imagination could serve as a critical and reflective reference point for the rapidly changing reality, and actively utilized that perspective to propose a new feminist politics called 'cyborg feminism.'
From its origins in the ghetto of "boys' entertainment," science fiction has become an alternative narrative strategy for feminist literature and the starting point for a new feminist politics. For this reason, female writers have had to transform the "system of discursive properties" of the science fiction genre.
How have feminist writers utilized the science fiction genre, both in response to and attempting to change its conventions? How has science fiction become a "cyborg technology" that dismantles gender binaries?

--- From "Part 2, Chapter 3: Attempts at Transformation - Writing Styles of Feminist SF"