Although Sid 6.7 began as a sarcastic computer personality, he gains freedom from the screen and becomes physically embodied . Sid 6.7 who can't stay away from the camera. Sid 6.7 compares to Lynch. Not only will she turn the camera around, she will use it to document suffering and a violent overthrow of the status quo. In the quote that introduces this critique, Donna Haraway implies that both cyborgs and women obviate the impossibility of all-encompassing narratives.
People are nowhere near so fluid, being both material and opaque.
Cyborgs are ether, quintessence. Yet, visibility and the fluidity of the camera gaze does not necessarily equate empowerment. The Politics of Performance , If representational visibility equals power, then almost-naked young white women should be running western culture. The ubiquity of their image, however, has hardly brought them political or economic power. However, as in the other films, the technology complicates the politics of representation.