Arts Notes On Some Images: For Amy Kate Horn
posted by July 31 at 14:53 PMon
Let’s begin with this image:
We see two things. One: its continuity with this image, from the middle of Blade Runner.
Walle-E the robot (his place, his look, his habits) is related to J. F. Sebastian, a genetic designer for Tyrell Corporation. Both are lonely, and both have a weakness for beautiful women. So, there is a connection, but not a continuity, between Pris (a sexy replicant) and EVE (a superior robot).
The second thing we see in the initial image is EVE’s continuity. Unlike Wall-E, but like the iRobot, her continuity is located outside (and not inside) of cinema. She is a part of the ipodization of commodities.
The cultural area of ipodization has recently expanded to the automobile industry.
This is Toyota’s iQ. Like the iPod, and EVE, the notion expressed by this design is “clean technology”—micro and yet powerful, this is the aesthetic that replaces the vulgar age of the SUV. The will of this aesthetic, like the will of any potent concept, is total realization. If ipodization reaches its final moment, the world will look like this:
But this image brings us back to robots, back to Wall-E.
To open his book on the psychological effects of colonialism, Black Skin, White Masks, Fanon asks: What does a black man want? If one were to write a book about the psychology of thinking machines, the first question they should ask is: What does a robot want? For the black man, his want is still a mystery to all and himself; as for the robot, there’s no mystery, no ambiguity: it wants to be like humans. Because they have this impossible desire, they suffer from an absurd (or perverted) mode of nostalgia. Wall-E watches an old musical religiously; the robot in Moby’s song “Whisper in the Wind” is filled with memories of a happy and healthy world; replicants in Blade Runner cling onto fake memories; and the robot in this advertisement:
The sorrows of a robot.