Last time I discussed what happens when female artists imagine themselves having sex with robots. This time, I'm more interested in what happens when they imagine themselves as robots.
Read on for more about Robyn and Björk.
Electronic artists have long made use of science fiction motifs like the robot. Of course, music being music and people being people, one of the most common things it seems anyone wants to do with a robot is have sex with it.
Read on for more about what some female artists do with their robots.
There's a new brand of supermodel in town, and, good news for the fashion industry, hunger-fuelled temper tantrums aren't part of her coding. It's the HRP-4C fembot, who made her entrance down the catwalk at Tokyo Fashion Week last month.
A film studies professor once told me that everything you need to know about a movie is revealed in the first five minutes. This is particularly true of The Stepford Wives.
In the opening scene of Bryan Forbes's 1975 original, Joanna Eberhart (Katharine Ross) takes a long, scrutinizing look at herself in the bathroom mirror. Her reaction is one of mild surprise, then subtle resignation, as if she's thinking, That's me?…Oh, well. She appears wistful and introspective as she walks around the silent Manhattan apartment that has been emptied for her family's move to the suburbs. Compare this to the start of Frank Oz's 2004 version: Joanna (Nicole Kidman), a powerhouse network executive, struts like a supermodel up to a podium, delivers a self-congratulatory speech, and previews the coming season's reality shows to a huge industry crowd. The mood is loud, flashy, and in-your-face. The difference between the two scenes is night and day, and therein, as my professor foretold, is everything we need to know.