{"version":"1.0","type":"rich","provider_name":"Bj\u00f6rk.fr \u2013 Site francophone d\u00e9di\u00e9 \u00e0 Bj\u00f6rk : musique, clips et actualit\u00e9s","provider_url":"https:\/\/www.bjork.fr","title":"The New York Times","author_name":"","width":"480","height":"315","url":"http:\/\/www.bjork.fr\/New-York-Times-08-1997","html":"\u003Ch4 class='title'\u003E\u003Ca href='http:\/\/www.bjork.fr\/New-York-Times-08-1997'\u003EThe New York Times\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003EMan versus the machine is one of the most persistent themes of 20th-century art. From the 1932 novel Brave New World to last year\u2019s Unabomber manifesto, popular culture abounds with dire warnings about the dehumanizing potential of technology. Though electronic music embraces both the tools and the futuristic veneer of the cyber-age, it, too, is often technophobic. The British duo Orbital, for instance, uses digital instruments to comment on the threats that a post-industrial society poses (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}