"the black wave of Lardossa..."

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...