input: In 1985, Haraway published the essay "Manifesto for Cyborgs: Science, Technology, and Socialist-Feminism in the 1980s" in Socialist Review. Although most of Haraway's earlier work was focused on emphasizing the masculine bias in scientific culture, she has also contributed greatly to feminist narratives of the twentieth century. For Haraway, the Manifesto offered a response to the rising conservatism during the 1980s in the United States at a critical juncture at which feminists, in order to have any real-world significance, had to acknowledge their situatedness within what she terms the "informatics of domination." Women were no longer on the outside along a hierarchy of privileged binaries but rather deeply imbued, exploited by and complicit within networked hegemony, and had to form their politics as such.  According to Haraway's "Manifesto", "there is nothing about being female that naturally binds women together into a unified category. There is not even such a state as 'being' female, itself a highly complex category constructed in contested sexual scientific discourses and other social practices". A cyborg does not require a stable, essentialist identity, argues Haraway, and feminists should consider creating coalitions based on "affinity" instead of identity. To ground her argument, Haraway analyzes the phrase "women of color", suggesting it as one possible example of affinity politics. Using a term coined by theorist Chela Sandoval, Haraway writes that "oppositional consciousness" is comparable with a cyborg politics, because rather than identity it stresses how affinity comes as a result of "otherness, difference, and specificity".  Haraway's cyborg is a set of ideals of a genderless, race-less, more collective and peaceful civilization with the caveat of being utterly connected to the machine. Her new versions of beings reject Western humanist conceptions of personhood and promote a disembodied world of information and the withering of subjectivity. The collective consciousness of the beings and their limitless access to information provide the tools with which to create a world of immense socio-political change through altruism and affinity, not biological unity. In her essay Haraway challenges the liberal human subject and its lack of concern for collective desires which leaves the possibility for wide corruption and inequality in the world. Furthermore, the cyborg's importance lays in its coalition of consciousness not in the physical body that carries the information/consciousness. A world of beings with a type of shared knowledge could create a powerful political force towards positive change. Cyborgs can see "from both perspectives at once." In addition, Haraway writes that the cyborg has an imbued nature towards the collective good.  Haraway explains that her "Manifesto" is "an effort to build an ironic political myth faithful to feminism, socialism, and materialism." She adds that "Cyborg imagery can suggest a way out of the maze of dualisms in which we have explained our bodies and our tools to ourselves." Haraway is serious about finding future ways towards equality and ending dominating behavior; however, the cyborg itself is not as serious of an endeavor for her as the idea of it is. Haraway creates an analogy using current technologies and information to imagine a world with a collective coalition that had the capabilities to create grand socio-political change. Haraway's "Manifesto" is a thought experiment, defining what people think is most important about being and what the future holds for increased artificial intelligence.

Answer this question "Was it well received?"
output: Haraway's "Manifesto" is a thought experiment, defining what people think is most important about being and what the future holds for increased artificial intelligence.

input: Prior to the release of their debut album Tell All Your Friends, a music video for "Great Romances of the 20th Century" was released on March 4, 2002. It was directed by Christian Winters, a friend of the band. Winters made the video before the group signed with Victory, and the record company enjoyed it. The song was distributed to radio stations on March 12, and the full album was released on March 25.  Around this time, Nolan (citing exhaustion from touring) left the band, and Cooper followed shortly afterwards. According to Lazzara, Nolan and Cooper were "having trouble because everything was happening so fast. Going from being home ... to being gone all the time and having your whole life consumed and almost defined by the band that you're in is a lot to handle". The band briefly considered breaking up. Nolan and Cooper formed Straylight Run with Nolan's sister, Michelle, and Breaking Pangaea drummer Will Noon. Taking Back Sunday added Fred Mascherino on guitar and vocals as well as Matt Rubano on bass.  The group's second album, Where You Want To Be, was released on July 27, 2004, on Victory Records. Although sounding slightly different from Tell All Your Friends by using some different musical instruments, the new album managed to do well commercially; propelled by the single "A Decade Under the Influence", Where You Want To Be went on to debut at the No. 3 spot on the Billboard 200 albums chart, with around 220,000 copies sold. It became one of the best-selling independent rock albums within a year, selling 634,000 copies by June 2005. Rolling Stone Magazine listed Where You Want To Be as one of the top fifty records of 2004. Instead of spending marketing money towards trying to get radio play, Victory Records used the internet and fans to spread the word about the upcoming album. They targeted consumers familiar with Victory Records as well as fans of emo music. They distributed a label sampler that included songs from Where You Want To Be to get fans excited about the release. They used the Taking Back Sunday street team, consisting of about 25,000 individuals, to promote the album. In return fans could get pre-sale tickets, win shoes and other various prizes.  Taking Back Sunday toured frequently for eight months in support of Where You Want to Be. The band received even more mainstream exposure by appearing on late night talk shows Jimmy Kimmel Live!; as well as contributing Where You Want to Be's second single, "This Photograph Is Proof (I Know You Know)", to the soundtrack for Spider-Man 2. They also contributed the song "Your Own Disaster" to the Elektra soundtrack.

Answer this question "did they collaborate with anyone else?"
output: