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organic flesh does not satisfy the desires that she appears to suffer. The first object of that previously diffuse desire is the photograph of her unknown father, an object whose semiotic possibilities contribute to the formation of an incipient posthuman identity. The language used to present this idea vacillates between memory and photographic image, combining Sofía’s organic memory of her absent father with the chemical process that encloses the image of that father. The photograph appears as a signifier stripped from its signified object as it no longer refers to a memory of a specific event or experience but exists merely as a memory of itself. That is, when Sofía views the photo, she remembers only the image of her father’s body, not the actual organic body itself. The fact that this picture displaces the event that it should represent, erasing any referent of a separate “real” experience, indicates a process in which the technology responsible for the creation of that memory has begun to integrate itself with the organic system that attempts to preserve the memory of that father. Moreover, by representing the object of desire as one of avoiding “that incomplete state,” the photograph appears as a prosthetic memory that completes Sofía’s incomplete organic recollections serving much the same function as a prosthetic limb. At the same time, it marks Sofía as a body that exists outside of the traditional family structure. If she is not presented as the result of a medical operation that made unnecessary the presence of a father, she does occupy the space of the body that does not find a place within the definition of the nuclear family. Prado emphasizes this interpretation with the conversion of the father’s organic body in photograph where the image of him replaces not only the memory of him that we have already mentioned but also his own corporeal presence. Sofía seeks the photograph as a way to satisfy her craving for paternal contact. In this sense we again see how the photo continues to function as a signifier that promises a physical referent but that is, after all, the only body that exists. We can intuit, then, the presence of a posthuman consciousness in Sofía where her own sense of self comes from the fact that she is the product of an organic mother and a photographic father. At the same time, we can also infer a marked difference between Haraway’s cyborg and