This work investigates the ways in which World War II American artists represent new information and biomedical technologies and their effects on human identity and agency. Examining canonical authors such as Thomas Pynchon, science fiction writers such as Octavia Butler and popular filmmakers such as Steven Spielberg, the author shows how these artists use the figure of the part-organic, part-technical cyborg to explore how the increasingly intimate connections between ourselves and our technologies change the contours of national, racial, sexual and labouring identities.