Theorist on science, technology and feminism
That Haraway’s name was less routinely dropped in press releases and curatorial statements this year than last might be taken as evidence that her ideas have percolated through to the theoretical bedrock of contemporary art. Essays including ‘A Cyborg Manifesto’ (1984) and ‘Situated Knowledges’ (1986) are by now firmly established as canonical texts of which any artist, curator or writer working around issues of artificial intelligence, ecofeminism and posthumanism is expected to have at least a working knowledge. Those practitioners will continue to build on Haraway’s findings, however much the theorist’s more recent writing on global population pressure (as a solution to which she proposes childlessness) has divided opinion. Indeed, as the pace of the ecological and technological change addressed by Haraway’s prescient early work accelerates, so her place in the discourse around the intersections of art, technology and society becomes more assured.