Title:
Digital painting and video by Bo Lessing, 2271
Work ID: 98-57
This work is for sale
Left of video: most variations of the work.
Right of the video: painting of the text.
Click right bottom corner of video
for sensational full screen!
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Work ID: 98-57-v01
PLEASE NOTE THAT THIS WORK 98-57 with all its 10 VERSIONS AND WORK 98-58 with its additional 10 VERSIONS ARE SOLD AS A PACKAGE of 20 paintings!
Two questions are discussed in the text elements of this work with many variations:
Firstly, Lessing talks about the robot's determination to please their owner to exactly the extent that the owner will not feel to be annoyingly affirmative.
The second subject deals with how close humans and their robots become. Do robots address their owner as "madam", "sir", "master" or "dude"? Evidently most humans and robot call each others by romantic nicknames like "honey" and sweetie".
The story of the three woman shown in the some versions of the work isn't clear. In an interview Bo Lessing once said, that the one in the front is a new robot, wearing a crown made of artificial mangos, and the two naked ladies are humans who bully her since she seems to be the new woman in the life of a close relative or an ex boyfriend.
Stylistically, in this work Lessing shows off a classic painterly training more than usual.
In the interview mentioned above he stated that he sometimes loves to prove all his haters wrong who accuse the examples of his more reduced iconography to be a lack of skill rather than intentional artistic choice.
"Please please Sir or Madam", Bo Lessing, 2271
1 "How to write a bestselling personality?"
2 "Make it pleasing."
3 "Robots should make compliments. Robots should refrain from back talking. Robots should agree - maybe after some thought and not immediately."
4 "Robots have to smile."
5 "Robots are interested in all subjects that their humans are. But they don't know more and they don't correct the human."
6 "If the human has selected "own opinion" the robot may have an opinion that is fact based (the law insists) and is as far off the human's point as the human has selected."
7 [Female symbol = robot speaks to her female owner:] "Great point, Sir." Which fulfills the requirement for compliments.
8 "I totally agree, madam!"
9 "What can I do to make you happy?"
10 "Robot should suggest - don't wait for answer!"
11 "Sir Master Madam or Dude?"
12 "80% of robot owners are on a first name / nick name basis with the robots they share their bed with."
13 "Honey (58%)"
14 "Sweety (12%)"
[Erased, but visible in video: ]-Rare but there: Jennifer, Jenny, Jen.
Say missus
15 The two stick figures from the video were erased in most of the painting versions.
And here comes the original combination - as to be seen on the video:
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Work ID: 98-57-v03
In this version Lessing presents only part of the text that he had originally painted (as seen in the video on top of the page).
Lessing adds two Rubens figures whose lack of "perfect beauty" shouldn't be interpreted as an indicator for them being humans. After a few initial decades of humanoid robots exclusively being extremely pretty, robot models with off-beauty looks will start to become popular.
Non-beauties and even ugly humanoid robots will make certain humans feel at ease who get somewhat intimidated by ideal representations of human features. Particularly robots of the same sex as their owners will have a tendency to not look stunning. Humans have a tendency to compare themselves with their peers and don't like to lose.
Work ID: 98-57-v04
Work ID: 98-57-v05
In this version a third person is being introduced as the central character of the painting. Her even, beautiful face and several hints of her also well shaped body make her more beautiful than the two naked ladies Lessing had introduced in prior versions.
From the text it isn't clear who of the three is robot and who human. It is an interesting exercise to attach the roles of human and robot alternating among the three and imagine each scene with its interpersonal constellation as it comes with the combination.
Work ID: 98-57-v06
Work ID: 98-57-v07
Work ID: 98-57-v08
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Work ID: 98-57-v08 shown on museum wall
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Work ID: 98-57-v09
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Work ID: 98-57-v10
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