Category Archives: Europe

La Machine – France

On New Years Day I was visiting Toulouse, France with my dad and we went to a museum hosting the work of the group La Machine, a “street theater” group that creates large-scale machinery for performance. The group’s creations remind me a lot of the steampunk genre of sci-fi we talked about briefly in class, which features retro steam-powered machines over more modern, electronic ones.

Their website has tons of information about and images of their works: a giant spider which was part of a performance through the streets of Toulouse, their newest design “Heron Tree” and many more. I’m fascinated by how the group incorporates the steampunk aesthetic into so many different aspects of performance (giant animals, natural objects and musical instruments to name a few). The site describes the animals as performers which “feed an unusual vision of theatre, reading movement as a language, and in turn a source of emotion. The operators, engines, animals and musicians intermingle, confront and tune in with each other, thus creating images that change our relationship with the city, suddenly transformed.”

They have so many projects it’s impossible to capture them all in one post. On my visit to the museum, I was lucky enough to ride on this giant centaur they had created out of wood and machinery. It was extremely detailed (you can see the steam coming from its nostrils, the chest moved up and down as it “breathed” etc.) and it moved around the property, operated by two individuals who used VR and motion sensors so the machine would mimic their movement.

There’s so many other intriguing parts of the museum and I highly suggest checking out the site for a bit (especially their musical performances). I thought this group and their work really connects to this class and expands the steampunk genre into the theater/performance realm. We haven’t seen many live performance pieces (other than Defekt, of course) so I thought I would share their super unique work!

Kraftwerk’s “Computer Love” and Online Dating

I’ve recently been in a bit of a Kraftwerk phase, so I thought that it would be nice to write a blog post about one of my favorite songs of theirs, which happens to be an example of SF and “SFional” music predicting the future.

Cover art for Computer Love by Kraftwerk

Off of Kraftwerk’s 1981 album Computer World, “Computer Love” is a danceable yet melancholic song that oddly seemed to predict the future of dating with its lyrics:

Computer love, computer love
Computer love, computer love
Computer love, computer love

Another lonely night, another lonely night
Stare at the TV screen, stare at the TV screen
I don’t know what to do, I don’t know what to do
I need a rendezvous, I need a rendezvous

Computer love
Computer love
Computer love
Computer love

I call this number, I call this number
For a data date, for a data date
I don’t know what to do, I don’t know what to do
I need a rendezvous, I need a rendezvous

Computer love
Computer love
Computer love
Computer love

Unsurprisingly, with the social isolation that and resultant loneliness that were spurred by the pandemic, dating apps such as Tinder saw a massive spike in usage. I won’t assert an opinion on whether this is a good or bad thing, but I certainly find it interesting to think about, especially in conjunction with “Computer Love.”

If you haven’t listened to this song or other Kraftwerk songs, I would definitely recommend checking them out! Their live performances are especially fun to watch, as they truly adopt the robotic personas that embody the themes present in many of their songs. I hope you give this song and their others a listen!

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dating app article

Tai Shani’s Feminist Science Fiction Novel Draws on Spoken Word Performance

Since 2014, artist Tai Shani, a nominee for the 2019 Turner Prize, has constructed hallucinatory environments inhabited by feminine characters adapted from myth, history, and science fiction. This multipart project—encompassing sculpture, graphic images, installations, film, and performance—has taken several forms, one of them culminating in her first book, Our Fatal Magic. Each of the volume’s twelve chapters is an elliptical, phantasmagoric monologue delivered by one of Shani’s figures: a medieval mystic, a cube of flesh embodying the fairy-tale Bluebeard’s multiple murdered wives, even an AI program named after Mnemosyne, the Greek goddess of memory. Several of Shani’s projects have been presented under the rubric “Dark Continent” (or “DC”), a reference to Freud’s infamous description of female sexual psychology—a characterization shaped by the colonial geographic imagination. The setting of Our Fatal Magic is the land of Semiramis, named for the legendary Assyrian queen. Though she does not make an appearance in any of the chapters of Shani’s book, Semiramis is the cornerstone in Christine de Pizan’s The Book of the City of Ladies, a fifteenth-century allegory about the contributions of women to human society, which treats its heroines as the structural elements of a new city. The opening Note of Our Fatal Magic refers to the compilation’s source project, “DC: Semiramis,” as an “expanded adaptation” of de Pizan’s book.”  –-Artnews