This paper examines how processes of digital image reproduction and manipulation are re-appropriating and in the process, repositioning, human bodies, notions of self and identity. The paper covers three main agendas. The primary focus is to emphasise how material factors contribute to the shape and formation of these decontextllalised identities. A second provocation is how, at the stage of material production, notions of Donna Haraway's cyborg politics of 'pleasure and responsibility' are, in a perverse way, being subverted and abused at both the institutional and commercial levels - where, in 'real world' terms, one's identity and image seem contingent upon the market. Finally, this raises questions about what types of subjective viewing positions are being created and what new narrative structures these hybrid identities are part of.
