Beefsteak.

Although she'd probably be deeply resistant to me posting this, I'd contend that Kate Crawford and her brilliant compatriot Nicole Skeltys are largely responsible for introducing me to a world of deeply engaged feminist thinking, through the lens of their compelling and brilliantly tongue-in-cheek project, B(if)Tek, in the mid 90s. Yes, they named their band after a cut of meat...

"A.I systems reflect the values of their creators" - Kate Crawford

I've been privileged to maintain a wonderful connection with Kate over the years, and even had the honor of contributing a small part to her wonderful book, "Adult Themes: Rewriting The Rules of Adulthood"

To call Kate and Nicole "feminists" would almost, curiously, feel patronisingly reductionist - they are simply much more, so much more - smart at f•••, politically engaged, exceptional media makers and exceedingly good humored. I was reminded of their work today, listening in the car to some new music by Holly Herndon who's own discourse on process and composition feel inspired and necessary in a music-only context.

Anecdotally, I also heard Rhythm and Sound for the very first time at a house-party at Kate's place, circa 2001. True stories. Somehow both music, media and academia have been central to parallel journeys - although mine took me rather deep into the bowels of Berlin clubland for over a decade of performances in Germany, and over half this time living in the nation's capital.

But I digress. Here's what Kate's up to now, followed by a glimmer from 2001.

...and finally, here's a little from Ms Herndon, who's trajectory feels similarly engaged, and who's relationship with technology feels entirely resonant with the work of Kate's...