“In the process of materialized reconfiguration of the kinship between different orders of life, the generative splicing of synthetic DNA and money produces promising transgenic fruit. Specifically, natural kind becomes brand or trade-mark, a sign protecting intellectual property claims in business transactions; we will meet this corporeal reconfiguration again in the score for the techoscience fugue” (Haraway 1997:66)
“The technical, textual, organic, historical, formal, mythic, economic, and political dimensions of entities, actions and worlds implode on the gravity well of technoscience – or perhaps of any word massive enough to bend our attention, warp our certainties, and sustain our lives. Potent categories collapse into each other” (Haraway 1997:68).
” “Implosion” does not imply that technoscience is “socially constructed”, as the “social” were ontologically real and separate. “Implosion” is a claim for heterogeneous and continual construction through historically located practice, where the actors ar not all human”. (Haraway 1997: 68).
“Implosion of dimensions implies loss of clear and distinct identities, but not loss of mass and energy. Maybe to describe what gets sucked into the gravity well of a massive unknown universe we have to risk getting close enough to be permanently warped by the lines of force. Or maybe we already live inside the well, where lines of force have become the sticky threads of our bodies” (Haraway 1997: 69).
“The FemaleMan is generic woman “enterprised up” (Haraway 1997: 70).
“The Female Man is literally a contradiction in kind” (Haraway 1997: 71).
“By insisting on the FemaleMan, I also ascribe the copyright to the figure and the text, that is, to the work rather than to the author. It seems only just by late twentieth century to mistake the creature for the creator and to relocate agency in the aliented object. The history of copyright, with its roots in doctrines of property in the self, invites my confusion of creator and creature by its very effort to draw a clear line between subject and object, original and copy, valued and valueless. I hope the original author will forgive me” (Haraway 1997: 71).
“The representation of the author as proprietor of the work and of the self rested on the Lockean idea of property wich originated “in acts os appropriation from the general state of nature” (…) “property on this account, was not a social invention but a natural right, exercised by the objectification of the person in his works.” (Haraway 1997: 72).