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| ==Robot fetishism in popular culture== | ==Robot fetishism in popular culture== | ||
| * The ] in ]'s 1927 film ] can be viewed as an early example of the robot as fetish object. | * The ] in ]'s ] film ] can be viewed as an early example of the robot as fetish object. | ||
| * ]'s classic ] ] dealt with robot fetishism as a sort of ] where the protagonist, "Joe", sinks into a life of sexual confusion and meaningless experimentation. | * ]'s classic ] ] dealt with robot fetishism as a sort of ] where the protagonist, "Joe", sinks into a life of sexual confusion and meaningless experimentation. | ||
| * In '']'', the android, ], was the object of sexual desire more than once up to actual sex and he was extensively programmed with numerous sexual techniques. | * In '']'', the android, ], was the object of sexual desire more than once up to actual sex and he was extensively programmed with numerous sexual techniques. | ||
| * The ] ] is notable for his highly realistically painted depictions of robots as erotic objects. | * The ] ] is notable for his highly realistically painted depictions of robots as erotic objects. | ||
| * Video artist ] has also depicted robots as fetish objects, perhaps most notably in a music video to accompany the song '']'' by ]. | * Video artist ] has also depicted robots as fetish objects, perhaps most notably in a music video to accompany the song '']'' by ]. | ||
| * The low budget 1981 science fiction film '''' (produced by ]) features female robots that are used as a plot device for a prison break. In one scene, one of the robots has a large portion of her back removed, revealing complicated looking electronics underneath. The male lead is then heard to remark "You are so beautiful". | * The low budget ] science fiction film '''' (produced by ]) features female robots that are used as a plot device for a prison break. In one scene, one of the robots has a large portion of her back removed, revealing complicated looking electronics underneath. The male lead is then heard to remark "You are so beautiful". | ||
| * The song "]" (from ] ] album ]) focuses on the topic of Robot fetishism. The tell of a man professing his love for a female robot. The video for the song features a fembot being purchased and moving in a machine-like way. It also features scenes of a panel on the robot's back being opened to allow its battery to be changed. Electronic circuitry and wires can then be seen inside. | |||
| ==See also== | ==See also== | ||
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Robot fetishism, or technosexuality is the name popularly used to describe a fetishistic attraction to humanoid or non-humanoid robots; also to people acting like robots or people dressed in robot costumes. A related fetish is statuephilia or agalmatophilia, which involves attraction to mannequins or statues. A common fantasy related to these fetishes involves transformation into a robot, mannequin, doll or statue.
Robot fetishism can be viewed as a form of erotic objectification. Conversely, it can be thought of as a form of erotic anthropomorphism.
A.S.F.R.
By its enthusiasts, robot fetishism is more commonly referred to by the initials ASFR. This acronym stems from the now defunct newsgroup alt.sex.fetish.robots. Many devotees of this fetish refer to themselves as technosexual, or as "ASFRians". ASFR can be divided into two distinct but sometimes overlapping types of fantasies.
The first of these is simply a desire to have a ready-made android partner. This partner can be desired for sex, companionship, or any combination of the two. The main distinguishing feature of this fantasy is that the android is a completely artificial construct, made solely to fulfil the wishes of its owner. This type of fantasy or situation is referred to as "built".
The second type of fantasy prevalent within ASFR is referred to as "transformation". This involves a human who has been either willingly or unwillingly turned into an android. That person can be either oneself or one's partner, or both. It is usually the process of transformation (through whatever means it is achieved) that is the focus of this fantasy.
Most people in the ASFR community prefer either one or the other, with the group split roughly in half. In some cases this preference is very strong, and people can be as equally repelled by one type as they are attracted to the other. In other cases, there is as much appreciation for "built" as there is for "transformation".
The aspects of this fetish that are most appreciated by members of the ASFR community are greatly varied. For some, things like robotic appearance, motion, or sound are most desired. For others, these are not, and a completely life-like android that appears to be human is desired. This holds true for other aspects, such as sentience or self-awareness. Often, the ability of the android to remove parts of its skin or other bodily appendages in order to reveal its circuitry are quite pleasing to some, but distasteful to others. There is a further divide between those who prefer an android to appear human-like and those who would prefer a more mechanical looking robot, i.e. made of metal.
As androids and humanoid robots do not currently exist in a form readily available to the consumer, this fetish can only be acted upon in a limited number of ways. Primarily this is done through fantasy, involving either self stimulation or sexual roleplaying with a partner. ASFR art is therefore important to aid in the reinforcement of imagination.
Art with ASFR content includes but is not limited to science fiction movies, television shows, novels, short stories, illustrations, manipulated photographs, songs and even television commercials. Such works are sought after by technosexuals since economically viable androids are not yet available. Realistic sex dolls such as the Realdoll remain the only concrete way to fully explore this fetish, but recent developments in robotics, such as the Actroid can only lead to the production of more advanced synthetic partners.
Robot fetishism in popular culture
- The gynoid in Fritz Lang's 1927 film Metropolis can be viewed as an early example of the robot as fetish object.
- Frank Zappa's classic concept album Joe's Garage dealt with robot fetishism as a sort of perversion where the protagonist, "Joe", sinks into a life of sexual confusion and meaningless experimentation.
- In Star Trek: The Next Generation, the android, Data, was the object of sexual desire more than once up to actual sex and he was extensively programmed with numerous sexual techniques.
- The fetish artist Hajime Sorayama is notable for his highly realistically painted depictions of robots as erotic objects.
- Video artist Chris Cunningham has also depicted robots as fetish objects, perhaps most notably in a music video to accompany the song All Is Full Of Love by Björk.
- The low budget 1981 science fiction film Escape from DS3 (produced by Anne Spielberg) features female robots that are used as a plot device for a prison break. In one scene, one of the robots has a large portion of her back removed, revealing complicated looking electronics underneath. The male lead is then heard to remark "You are so beautiful".
- The song "Electric Barbarella" (from Duran Duran's 1997 album Medazzaland) focuses on the topic of Robot fetishism. The lyrics tell of a man professing his love for a female robot. The video for the song features a fembot being purchased and moving in a machine-like way. It also features scenes of a panel on the robot's back being opened to allow its battery to be changed. Electronic circuitry and wires can then be seen inside.
See also
External links
- Fembot Central message board - ASFR community hub
- ASFR entry on sexuality.org
- The Technosexuality, Pygmalionist & Mind Control Fetish FAQ 3.0
- The "Nature" of the Female Cyborg: Evidence of Will in the Mechanical Woman
- SexRobot.com - Exploring the coming world of sex robot fetishes
- "ASFR" a documentary short by filmmaker Allison de Fren
- SexTV episode "Remote Control"