Many of the YouTube channels displaying AI art show imaginary scenes from SF films and TV as if they were made by different directors and conceptual artists. So there’s Star Trek as created by Stanley Kubrick or Wes Anderson, Dune as conceived by H.R. Giger and Star Wars as done by all the above plus Alejandro Jodorowski the Franco-Chilean comics writer and surrealist film maker, or otherwise in the style of 60s Surrealist Science Fiction. I can’t say I’m a fan of Eastenders, and it’s seemed to me for a long time that the soap would be more interesting to me, as a Science Fiction fan, if it had been designed by Giger, the artist who gave the world the Xenomorph of the Alien movies and Sil of the Species franchise, and directed by body horror maestro David Cronenberg. He’s the director behind such grim epics as Videodrome, about an underground TV channel specialising in murder, torture and sex, that produces disturbing hallucinations in its viewers; the Fly, in which David Goldblum turned into a humanoid insect after an accident with a teleportation device; Crash, about perverts getting their kicks from motor accidents; and the Naked Lunch. Very loosely based on the book by William S. Burroughs, this is about a pest exterminator who gets hooked on the ketamine he uses to kill the bugs and goes through a series of bizarre hallucinations. These include mugwumps, reptilian alien creatures, and a gay typewriter-beetle. One of his earlier films was The Brood, in which a psychologically disturbed woman exteriorises her trauma so that it warps her flesh, generating murderous homunculi. With those two designing and directing the chronicles of Albert Square, the soap would definitely become more interesting, but possibly only to horror and SF fans. Others may well be put off.
So, I sketched out for myself a few ideas of what Eastenders and its characters might look like with Giger and Cronenberg at the helm. These include Barbara Windso, the Queen Vic’s barmaid, as a Giger-esque alien growing out of the bar, Dot Cotton andPat Butcher as creatures like Sil from Species, and the flesh of one of the Mitchell brothers warping and twisting while a mugwump looks over his shoulder. I don’t know if you can see it, but on the second sketch of the Windsor creature I did the handles of the pumps as elongated babies, following their appearance in Giger’s art. And the bottles in the optics are supposed to be bio-engineered organs like the technology that appears in Cronenberg’s Existenz and following Giger’s biomechanical aesthetic. No, I’m not trying to give anyone nightmares, just having fun crossing genres. Besides, some of the storylines in Eastenders set in the real world are far more horrific than anything created from latex rubber and CGI animation.
Just got this through from the pro-democracy groups about an article in the Heil by someone called Charles Dunst. Dunst says, rightly, that Brits, especially young Brits, are losing faith in democracy. They are, but this isn’t the fault of 13 years of authoritarian Tory rule and legislation setting up secret courts and curbing the right to protest and strikes! No! The real threat to democracy comes from authoritarian leftists like Extinction Rebellion. And Liz Truss, a puppet of the free trade NHS privatisation lobbyists at Tufton Street, is just the woman to defend democracy. This is just completely bonkers. It’s on the same level as telling the British public that Judge Dredd is a staunch believer in civil liberties and prison reform. I don’t have much respect for Extinction Rebellion as their stunts of holding up traffic and so on seem designed particularly to annoy the ordinary public. And they have harmed people, as when they prevented an ambulance from taking a woman having a stroke in hospital in time, so that they woman wouldn’t have suffered paralysis down one side of her body. But Dunst’s crazy article does remind me of the advice Private Eye gave about reading the opinions of Rees-Mogg senior. He must be read carefully. Then you turn his ideas through 180 degrees and, vioila! he’s exactly right. Here’s Open Britain’s comment:
‘Dear David,
In 2023, Britain is inundated with flag-toting, vote-suppressing, reality-denying authoritarianism. In times like these, nations rely on journalists to speak truth to power, to challenge the government line and speak for the people when their voices aren’t being heard. In Britain, our media ecosystem is doing the opposite – its supercharging and amplifying our vocal right-wing minority.
You may have seen this Daily Mail headline circulating on Twitter. Charles Dunst’s unbelievable article claims that young people are losing faith in democracy, that they just don’t feel it’s working for them anymore – and that’s true. Our institutions are not adequately reflecting the will of the people, meaning we need to fix those institutions and restore trust (which is exactly what Open Britain is fighting for).
Dunst has other ideas. Instead, he goes on to commend Liz Truss of all people for standing for “liberal values”, while arguing that the reason democracy isn’t working is actually because of China. He claims that climate protestors are the real authoritarians in the UK, despite their almost complete lack of power and the harsh government crackdowns on their right to protest. It’s an incomprehensible distortion of reality – but it still gets into people’s heads.
The mental gymnastics required to write such an article must have required years of rigorous training. But it’s just one example of how the UK media manufactures consent among the public, deploying specific framings and omitting hard truths that change the tone of the story altogether, functioning as unofficial state propaganda. This article is toeing the line of people like Liz Truss, Rees-Mogg, and Boris Johnson, presenting them as a solution to a problem that they caused.
None of this is terribly new. From backing the actual Nazis back in the 1930s to going on xenophobic, anti-muslim tirades in the 2010s, the Mail and its counterparts have long pushed an unpopular agenda. But now, in the age of tabloid articles, social media, and targeted advertising, it’s posing a real threat to democracy itself. A democratic system is only as good as its information environment – and ours is clouded with propaganda and misinformation.
For one thing, we need to support the independent media in the UK. In recent years, a new breed of media companies like Byline Times, Politics JOE, and openDemocracy have started to set a new standard, covering substantial political stories instead of hacking into Harry and Meghan’s phones.
What we really need, however, is meaningful press regulation. At this critical time, we need to start asking questions like “Why does Russian oligarch Evgeny Lebedev get to sit in the House of Lords and own the Evening Standard?” or “Why are we allowing Rupert Murdoch’s media empire to warp public opinion in his favour?”.
It’s just another reason we need a democratic renewal in this country. As much as a broken press is a threat to democracy, democracy is equally the solution to a broken press. In a survey of 24 countries, the UK had the second lowest level of trust in the press (just 13%) – only beating out Egypt and ranking well below Russia, Indonesia, and Mexico. The people want change, and we need real democracy to reflect that.
As Charles Dunst said, the people are losing faith in democracy. But the solution is not more NatC conventions or bringing back Liz Truss. It’s a wholesale revitalisation of the democratic institutions that deliver the will of the people. That’s what Open Britain is all about.
No, not a tale about a funny performing animal who can speak. Gef the Talking Mongoose was a poltergeist that haunted a Manx family in their remote farmhouse in the 1930s. As well as making knocks and scratches it also spoke, claiming to be a spirit from India that had come to Europe. Although it made many other claims and hints about its identity as well. When manifesting, it took the form of a small, furry creature. There are photographs of the spook, but they are less than entirely convincing. Its appearance in once photo has been compared to a woman’s fur stole of the type worn in the period. There is a cast supposedly of the ghost’s footprints, and they are unlike those of a mongoose or anything else, for that matter. The front paws are much larger than the rear. The case was investigated by the Hungarian lawyer and parapsychologist Dr Nandor Fodor and the British ghost hunter Harry Price.
Apparently they are making a film of the case to be released later this year. The film is produced and directed by Adam Sigal, and stars Christopher Lloyd as Nandor Fodor, Minnie Driver as Anne, Simon Pegg as Harry Price, and Neil Gaiman as the voice of Gef himself. Lloyd was the mad scientist in the Back to the Future films, though he also appeared as a Klingon commander in Star Trek III: the Search for Spock. Some of us can still remember him as Mad Jim in the 1970s/ early 80s comedy, Taxi. Pegg has appeared in a series of comedies, like Shaun of the Dead, Hot Fuzz, and World’s End, as well as the rebooted Star Trek films and Paul, about a Grey alien who really has been living on Earth for all these years. Neil Gaiman is a comics and Fantasy writer, who created the cult Goth comic back in the 90s, The Sandman, co-wrote Good Omens with the late, much missed Terry Pratchett, the BBC fantasy series Neverwhere, and a string of Fantasy novels like American Gods, which I think may have been adapted into a TV series. I’ve a very strong interest in the paranormal and Gef the Talking Mongoose is a fascinating case. I believe there was a radio play about it on Radio 4 a year or so ago. According to the imdb page the film is expected to be released on the 16th September this year.
This is going to be another controversial video because of where it comes from: Paul Joseph Watson. Yeah, I know, he’s another far right mouthpiece. He was Alex Jones’ British buddy over on Infowars, which pushed just about every bizarre conspiracy known to humanity. He was one of the celebrity rightists who broke UKIP, along with Mark ‘Count Dankula’ Meacham and Carl ‘Sargon of Akkad’ Benjamin. When those three joined the party, all the genuine anti-racists left. Party collapse followed, as well as refounding as the Brexit party, now Reform or whatever.
But here Watson makes a perfectly valid point. It’s in response to Scott Adams, the creator of the Dilbert cartoon strip, torpedoing his career by telling Whites to stay away from Blacks. He said this in response to a poll which found that just under 50 per cent of Blacks thought it wasn’t okay to be right, or didn’t know if it was or wasn’t. He took this as showing that this proportion of the Black American population hated Whites. He therefore told Whites to stay away from Blacks, even though just over 50 per cent of Blacks had no problems with Whites and ‘don’t know’ doesn’t necessarily translate to ‘hate Whites’.
What Watson objects to in this video is that Critical Race Theorist and anti-racist activist, Robin DiAngelo, says much the same thing from the Black perspective but doesn’t suffer the same consequences as Adams. He presents a clip of her saying that Blacks need their own separate spaces away from Whites. Now this attitude ain’t new. I encountered it years ago in the editorial/ ‘things you should know about’ column in the newsletter of the Black and Asian Studies Association newsletter, no. 31 or perhaps 32, c. 2002, when I was working at the Empire and Commonwealth Museum in Bristol. I wasn’t impressed. One of the columnists for the Financial Times had reviewed a book on the Empire and post-war immigration, and, if I recall correctly, had criticised it for saying nothing about what it called ‘reverse colonisation’ and ‘liberal apartheid’. Liberal apartheid is the system of goods and services set up exclusively to benefit Blacks and ethnic minorities. The call for separate Black spaces, however well meant, is effectively a call for a return to segregation. When coupled with an opposition to restrictions on non-White immigration, as was also expressed in the same column, it becomes effectively a form of colonialism in which Whites are to be excluded from certain spaces for the benefit of non-White immigrants. I don’t doubt, though, that those making these demands wouldn’t see it like that and would be terribly offended by the very idea. Nevertheless, it’s there, and it’s causing further racial division and conflict. But it’s seen as acceptable because the people advocating it come from the left and do so on the part of an underprivileged ethnic minority.
A few days ago I posted a piece about a Pakistani TV programme, which featured a panel of violently intolerant religious fanatics ranting about what they feared was a wave of unbelief and blasphemy threatening the country of the pure. Well, that’s one explanation I’ve seen for the country’s name: ‘paki’ – ‘pure’, ‘stan’ country. I’ve also seen another explanation that claimed the ‘Paki’ element is an acronym made up with the country’s various provinces. These men claimed to have seen a report by the Federal Intelligence Agency and the branch of the country’s judiciary or law enforcement tasked with protecting the Pakistani people from blasphemy, that there were 400,000 internet accounts put up by blasphemers. They then went on to complain that despite these numbers, only 119 people had been arrested and of these only 11 were executed. Later on in the programme they claimed that the blasphemous internet accounts had started with only four people, who had been arrested and executed, but the number had mushroomed. This was accompanied with histrionic demonstrations of grief and outrage. One of them wished he had died before he had seen this day. Another wondered if they shouldn’t react to this news by burning down the towns. I hope that’s just hyperbole, otherwise it’s going to kill an awful lot of people and increase any disaffection with Islam. An elderly mullah was seen crying in a corner of the studio. They also went to describe the dreadful acts the blasphemers were committing, claiming that it was all part of a conspiracy to bring down the country and that the blasphemous internet sites were using women to lure men onto them to commit these outrages. I’m not going to describe them, as they are very shocking, far more extreme than the Danish cartoons that provoked such outrage across the Islamic world when they were published.
The ex-Muslims atheists on the net believed that the stories of these blasphemous acts were genuine, and were an expression of real, bitter hatred by alienated young Pakistanis against the country’s dominant religion. But the acts they described are so grotesque, I wondered if they weren’t made up. Years ago I read an account of the furore over the Danish cartoons on one of the Islamophobic sites. After the cartoons had been published in a Danish provincial paper, the Jyllands Aftenposten or whatever it was, a group of five imams went on a tour of the Muslim world to show them to the masses. However, it seems that one of the cartoons they showed had not been published by the paper.
I’ve been told that in that part of the world there’s a culture of embroidering the truth in disputes. It was a problem for the British authorities during the Raj, as both sides would start inventing details to reinforce their side of the argument until it was impossible to tell who was actually in the right. I don’t doubt that there are internet sites in Pakistani posting blasphemous material, but I wonder if the supposed acts they contained weren’t, in actual fact, the products of the nasty, lurid imaginations of those complaining about them.
The ex-Muslims themselves wondered about how many of the 400,000 blasphemers were really non-Muslims. Islam in Pakistan is composed of different sects – Sunni, Shia, Barelvi, Deobandi and so on, some of whose doctrines are seen as blasphemy by the others. So some of what was being denounced as blasphemous by the various fanatics could simply be honestly held beliefs by pious Muslims, who themselves see them as true and respectful expressions and formulations of their religion. Some of the ex-Muslims therefore suggested that the number of real blasphemous internet accounts was therefore half the official number, 200,000. But even if 400,000 is the real figure of atheists attacking Islam on the Pakistani net, it’s a trivial number compared to the country’s population. I think Pakistan has a population of c. 250 million. Which means that the proportion of people posting this material is less than 1/500 millionth of the population. In other words, a vanishingly small number. To outsiders like myself, when put like this the issue seems hardly worth bothering with. But not to these guys, who lined up in the studio to sing a song about how they would cut the heads off the blasphemers and burn them by day and night.
The same week Pakistani television broadcast this fiasco, Muslims in Britain had been celebrating Eid with the Big Iftar, in which they shared their religious meal with their non-Muslim neighbours. The One Show also covered on Muslim, who had dedicated himself to doing good deeds during Ramadan, and had assembled a team of Muslims and non-Muslims to help him. All of which was obviously far more constructive than the Pakistani programme’s demands for mass death. As for its wretched song, I can remember when one of the great Pakistani Sufi musicians came to Britain with his band back around 1991. He performed in Bradford, I think, and the Beeb televised the concert late one evening. I watched some of it, as I was then trying to do a postgraduate degree in British Islam. What came across from the little I saw was the sheer joy of the musicians and the audience. Joy in their religion, joy in the music. No hate at all. Round about the same time there was a documentary about Islam, Living Islam, which attempted to give a positive view of the religion. When it came to Pakistani politics, the presenter admitted that yes, politically the Pakistani electorate did demand more Islam. When the politicians attempted to give it to them, however, they were much less enthusiastic. Looking back, this is a mistakenly optimistic view. But then, despite the continuing controversy over the Satanic Verses, in some ways the ’90s were far more optimistic when it came to race and religion than today. To many people, both Black and White, racism was declining as conditions for Blacks and minorities improved. Another piece of optimism that has vanished in recent years.
Some of the posts I’ve seen about it made the point that the country has bigger issues to worry about than blasphemy. The country is supposedly deteriorating economically, socially and politically. But I wonder if that wasn’t the point. It looks like a diversion, to get ordinary Pakistanis to look away from the country’s real, material problems. Just like the Conservative MP Lee Anderson wants his party to fight on the culture war issues, because Rishi Sunak’s material policies about the economy are terrible and indefensible.
Even so, the programme is still chilling for the hatred it was trying to stir up. Accusations of blasphemy have resulted in rioting, murder and assassination in Pakistan. In one particular insane case, a schoolgirl allegedly murdered her teacher. The teacher herself hadn’t actually blasphemed. The child merely dreamed that she had, and so attacked and killed her. In my previous post about this I worried that this could set off a wave of mass persecution. So were the ex-Muslims, one of whom urged people to post about this and add hashtags copying in the American embassy and British High Commission as it looked like this could lead to serious human rights violations. And there’s the additional problem that this fanaticism could easily spread over here. The rioting between Hindus and Muslims that erupted a few months ago was supposed to have been caused by radical preachers from India and Pakistan.
We really need preachers now to emphasise peace against all the bigots anywhere in the world trying to divide us with hatred.
I found this very strange little video on the YouTube channel for the National Museums of Scotland. It’s of a disabled model in suitable vegetable-themed attire wearing an artificial limb that has been designed to look like a vegetable vine or tendril. The blurb for the video states:
‘This prosthetic limb was created for the model and body confidence advocate Kelly Knox by the Alternative Limb Project. The arm was designed by Sophie de Oliveira Barata, with mechanical engineering by Dani Clode, 3-D modelling by Jason Taylor and electronic engineering by Hugo Elias. The arm will is on display in the National Museum of Scotland.’
The girl’s outfit reminds me a bit of Poison Ivy from one of the Batman movies. There was also a character in the 2000AD strip, ‘Bad Company’, who’d lost an arm after being captured and experimented on by the alien Krool. He replaced it with a giant alien Venus fly trap. I think I may have come across the Alternative Limb Project before. If they are who I think they are, they produced a similar limb a few years ago which looked like an octopus tentacle. They create limbs like this because they don’t see why artificial limbs should resemble ordinary human arms or legs. It’s a fascinating video which suggests that people may become less obviously human as they begin to alter themselves through prosthetics.
BREAKING: Water companies released raw sewage into rivers OVER 800 TIMES A DAY last year.Our rivers and seas were polluted time and time again, because water companies, the Government, Ofwat and the Environment Agency are dragging their heels. [1] This is unacceptable.
It’s time for water company bosses to do their jobs and clean up their act. Bonuses paid to water company executives have surged, despite most failing to meet sewage pollution targets. [2] The average bonus was £100,000 for a period when foul water was pumped for nearly 3 million hours into England’s rivers and seas. [3]
Until these sewage spills stop, not a single penny in bonuses should be paid to the CEOs of these companies. Right now Ofwat are consulting on plans to do just that. [4] You can bet lobbyists for big water companies will be feeding into that consultation, trying to get them to weaken their plans. We can’t stand by and let that happen – we need to come together and drown them out.
So will you help protect our waterways from pollution, and sign the petition today calling on Ofwat to make sure their plans are as tough as possible? Use the button below to add your name in just one click – then make sure you share the petition with as many people as possible so we can drown out those who want to block these plans. We’ll hand it in before the consultation closes.
I’ve signed it, because this is a recurring, persistent problem. We’ve have similar reports and petitions before of the water companies fouling rivers and the sea in their local areas. And once again, the problem goes back to Thatcher. When the Tories privatised the water companies in the 1980s and set up the environmental protection agency or the rivers authority or whatever it was that was supposed to take on the job of guarding Britain’s watercourses from pollution, Private Eye reported that they deliberately weakened its power. People were also warning that the removal of EU legislation protecting waterways would also see companies dumping raw sewage into it. There was even a strip in the magazine, the Brexiteers, which showed a gammon couple first deny that it was going to happen, and then gleefully rushing into a sea polluted and brown with what Billy Connolly described as ‘jobbies’. They were glad because although it was turds, it was good, British turds.
Let’s clean up the environment and clean out politics: Tories out!
Okay, here’s a couple more sketches of notable entertainers, Max Wall and Lemmy from the Heavy Metal band Motorhead. Motorhead’s greatest hit is probably ‘Ace of Spades’. In an interview years ago, Lemmy dispelled the notions that it was about Satanism or anything deeper, explaining that it was just about gambling. It was inspired by the Watford Gap service station and playing the fruit machines their on the way to and from gigs.
Decades ago the News Quiz, when it was still worth listening to, published an apology to Mr. Kilminster, for running a story about his sexual antics that got the details wrong and so made it sound less debauched than it really was. They had reported that he had a hung a woman upside down in his cupboard for a few hours. Not so. He had tied her to the bed, and this had gone on for three days. Lemmy complained, and the paper duly issued a correction and apology. Rock and roll!
He also makes a cameo appearance as the pilot of a water taxi in the 1980s British SF movie, Hardware, about a sculptor, who restores a killer war robot her boyfriend has bought from a scavenger in a radiation desert. The machine upgrades itself and goes on the rampage. The film was directed by Richard Stanley, who also directed the recent film version of Lovecraft’s The Colour Out of Space starring Nicholas Cage. Hardware’s story is extremely close to the 2000 AD ‘Future Shock’ story, ‘Shocc!’ and Stanley was successfully sued by the comic and the strip’s creators. This hasn’t prevented the film from being considered by many as one of the best British science fiction films.
Lemmy wasn’t racist, but I can’t say I’m comfortable with the cod-Confederate uniforms he used to wear. I dare say it was done just to signal he was a rebel and possibly the southern American origins of much rock, but considering what the Confederacy stood for, it is tasteless.
Max Wall was the performer best known for his silly walk, bent over, bum projecting and knees bent, rather like Groucho Marx. I was reminded of him while thinking about the Asimo robot. This was unveiled by the Japanese in the 90s and was one of the first humanoid walking robots. It looked a little like an astronaut with a huge pack on its back and a head that resembled a space helmet. It also walked with its legs bent, which inspired me to draw this sketch of the robot channelling Wall.
One of the books I’ve been reading is Luca Beatrice’s Robot: A Visual Atlas from Ancient Greece to Artificial Intelligence (Milan: 24 Ore Culture 2016). This is an encyclopaedic discussion of robots in history, art, film and television, music, fashion and design, books, cartoons and toys and technology. The book’s blurb runs
‘Since ancient Greek times, man has sought to build a copy of himself. It is here, in the invention of the replica of himself, that he has felt closest to God.
From Philon of Byzantium to Isaac Asimov and Philip Dick, the inventor of the Replicants.
From Daft Punk to Kraftwerk, the band that used replica mannequins to perform their songs.
From Fritz Lang’s Metropolis to Her, in which the protagonist falls in love with a computer.
From Astro Boy to the American Marvel comics superheroes and the Japanese characters Mazinger and Steel Jeeg.
And now, in the age of computers, the true robots of our time, those old tin and steel robots have assumed a vintage appeal that makes them even more irresistible.’
Although it’s very comprehensive, there are some glaring omissions. For example, when it comes to bands of real robot musicians, it includes Japan’s Z Machines, but leaves out Germany’s Compressorhead. It also includes some European comics that are obscure to English-speaking audiences, but doesn’t include 2000 AD’s Robusters or ABC Warriors despite the fact that these strips and their characters go back 40 years or so. But there is much that is genuinely new, like the Mutant Waste Company, a British artist’s collective now resident in Italy, who used to build robots out of disused car parts and pieces from scrap yards.
It begins with the first robot believed to have been built, Philon of Byzantium’s automatic servant. It says of this android
‘Designed by an engineer and writer who lived in the 3rd century BC in Byzantium, Philon’s Automatic Servant is the oldest robot in history with human features. Able to serve wine, its structure is composed of several elements: inside, under the tunic, are two containers, one of wine and one of water, connected to the jug by means of air tubes that carry the liquid long the right arm. The left hand, which holds the cup, is connected to a system of levers that regulate the movement of both arms: when the cup is placed on the hand, the left arm descends while the right arms moves to pour the wine mixed with water; as the cup gradually fills, its weight increases and as a result the arm descends until it reaches the lowest level and thus the limit of capacity. The system now comes to a halt, the guest can take his cup, and the arms return to their starting position, ready to begin again. The Automatic Servant is now housed in the Kostas Kotsanas Museum of Ancient Greek Technology in Katakolo, Elis, Greece.’ (p. 16).
And here’s the photograph of the machine on the opposite page.
I’m pretty sure this is a reconstruction, as I imagine the real machine has been lost, although I might be wrong. Anyway, it’s a truly astonishing piece of engineering and shows once again just how sophisticated the engineers and scientists of the ancient world were. The Japanese also created a similar automaton, a mechanical servant girl that carried cups of tea to the guests.
As you could probably tell from my piece about the very weird outfits sported by Sam Smith and Harry Styles at this year’s Grammys and Brit Awards, I’m not a fashionista. And I still remember Punk fashion designer Vivienne Westwood getting very narked on Wogan back in the 1980s when the audience started laughing at her extremely bizarre creations. ‘Why are they laughing?’, she wailed, followed by ‘Well, it went down very well in Milan’. Which it probably did, but I suspect that most ordinary Italians probably have no more patience for bonkers and unwearable clothing than we Brits or anyone else in the world.
But I am interested in robots and in art and music that includes them. And there have been a number of fashion designers who have included them in their shows. Alexander McQueen had this performance as part of his spring/summer 1999, where two industrial robots spray paint the model’s dress while an operatic aria wails in the background. The video is from the CoutureDaily channel on YouTube.
Then there’s this video of ‘Rock Meets Robots at Philippe Plein Fashion Show’, posted seven years ago on his YouTube channel by linearnetworkslive. This has the models gliding along a conveyor belt while industrial robots also move about the stage. You’ll also see the robot band Compressorhead, and the music for the show includes Kraftwerk, natch.
Plein also had another fashion show with a similar theme. This had Titan the Robot walking about the stage talking, before a giant UFO descended from the ceiling and a glamorous woman in a black catsuit walked out. Titan took her hand, and the two walked around the stage a bit more while Frank Sinatra’s ‘Fly Me To The Moon’ played in the background.
A female robot also made its debut at Tokyo Fashion Week as shown in this video, also from YouTube, put up by AP Archive. It’s interesting as a spectacle, but I’m afraid all the dialogue is in Japanese and their are no subtitles, so I have no idea what they’re saying.
I also found this interview posted by Dremel on their YouTube channel with the international fashion designer Anouk Wipprecht. Wipprecht describes herself as a fashion technician, who includes technology in her creations. She says that fashion is analogue, so she wanted to make it digital. One of her creations is a spider dress, which has little robotic spider legs about the neck and shoulders. It has motion sensors, which activate the legs as if they’re attacking if you come into the wearer’s personal space. Which is a bit scary. Wipprecht describes some of her techniques and tools, which includes Dremel’s 3-D printers, so the video’s a bit of an advert for the company. It reminds me a little of the short-lived vogue for wearable computers that briefly appeared in the ’90s before fizzling out.
These Wipprecht and the McQueen and Plein fashion shows are all very much in the aesthetic style of the Futurists, an aggressive Italian artistic movement that celebrated the novelty, speed and excitement of industry and the new machine age. In his ‘The Founding and Manifesto of Futurism’ of 1909, the movement’s founder, Filippo Marinetti, raved about how the movement would sing of workers toiling beneath electric moons, cars and aeroplanes and stated ‘we look forward to the future union of man and machine.’ I despise the Futurists’ aggressive nationalism, their militarism and ‘scorn for women’, but do like their exploration of the machine aesthetic in their art and music. One of the pieces they composed was entitled ‘The Agony of the Machine’, while another was an opera about the love a steam locomotive had for her driver. They were also interested in fashion, and reacted against tasteful, dark clothing demanding colourful attire that positively screamed at you. These fashion shows and Wipprecht bring this aesthetic into the 21st century and the age of AI and real robots.
But back in the ’70s before the technology had emerged to incorporate real robots into pop music, we had Dee Dee Jackson singing ‘Automatic Lover’ accompanied by a robot on stage, well, a man in a suit playing a robot. It was briefly mentioned in an episode of ‘Robusters’ in 2000 AD when the band plays it in an underground robot bar. Here, for fans of 70s disco, is a video I found of it, again on YouTube, on bchfj’s channel.
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