This article explores the ways in which Janelle Monáe’s audiovisual performances leverage black female flesh to trouble historically constituted imaginings of ‘the human’. Tracking Monáe’s audiovisual aesthetics across ‘Many moons’ and Dirty Computer, I interrogate acoustic and imagistic resonances that recall the repeating horrors of bondage, and which also constitute performative ‘fabulations’ whereby freedoms that are engendered specifically by and within black female flesh might be imagined. Monáe ‘enfleshes’ the cyborg to critique cyberfeminist and posthumanist theories that advocate for material dissolution as a framework for liberation, as well as to trouble black women’s historical relationships to the category ‘human’. Rather than understand Dirty Computer as a (re)turn to the human Monáe, I contend that the project extends the artist’s longstanding critical engagement with the black female cyborg and black sonic cyberfeminist liberatory potentialities.

本文探讨了珍妮尔·莫娜（JanelleMonáe）的视听表演如何利用黑人女性的肉体来困扰历史上构成“人类”的想象。我在“许多卫星”和“肮脏的计算机”上追踪Monáe的视听美学，我询问了声学和虚幻的共鸣，这些共鸣使人回想起束缚的恐惧，也构成了表演性的“虚构”，通过这种构想，人们可以想象到黑人女性肉体及其内部所产生的自由。 。莫纳（Monáe）“吞并”半机械人，批评网络女性主义和后人文主义的理论，这些理论主张将物质解散作为解放的框架，并使黑人妇女的历史关系陷入“人性”类别。而不是了解肮脏的计算机 作为对人类蒙纳的（重新）回归，我认为该项目扩展了艺术家与黑人女性半机械人和黑人声音网络女性主义解放潜力的长期批判性接触。