Two stations in Boston refused to play the song because of a flood of calls and letters from listeners who thought it was insensitive. The 5-foot-7 station manager of both stations explained that children might begin to see themselves as "creepy little folks." . . .

Then there are those fans who, understanding their favorite artist's genius, have interpreted the song as being a satire on short-sighted people — spiritual midgets, you might say.

Benglis uses Andre's name in her piece, but the point she makes is not strictly pejorative. The work is an ironic and humorous homage to Andre's art, which is characteristically made of ordered, flat, modular shapes combined with simple slabs of metal or stone that sit directly on the floor or, like Benglis's piece, are installed in the corner.

A cybernetic sculpture, 'The Senster', was constructed by Edward Ihnatowicz in 1970 for the Philips Evoluon in Eindhoven. The device is a large electrohydraulic structure in the form of a lobster's claw: six hinged joints allow great freedom of movement. It is interesting that the device's unpredictable behaviour makes the observer feel that the sculpture is alive. Reichardt (1978) commented: 'It is as if behaviour were more important than appearance in making us feel that something is alive.' 'The Senster' has senses—sound channels (effective ears) and radar—to allow it to monitor its environment: it will, for example, react to the movement of people in the immediate vicinity. Electrical signals are fed from a control unit to activate mechanisms which cause movement in the device. The brain (a computer) has learning abilities and can modify the machine's behaviour in the light of past experience. Confronted by this artificial device, it is clear that people have no difficulty in organizing their psychological responses as if 'The Senster' were alive—an animal or another human being.