Uncanny Intimacy

Summary: Uncanny Intimacy charts an artists’ journeys towards ecological understanding. Use the mysterious inorganic ‘telescope’, to peer deep within a contemporary 'cabinet of {research} curiosities’, witnessing diverse moments of insight and inspiration animated by the darkly compelling worlds of Australia’s iconic flying foxes. Exhibition Statement: Uncanny Intimacy charts an artists’ journeys towards ecological understanding. Use the mysterious inorganic ‘telescope’ to peer deep within a contemporary 'cabinet of {research} curiosities’, witnessing diverse moments of insight and inspiration, animated by the darkly compelling worlds of Australia’s iconic flying foxes. Uncanny Intimacy calls us to imagine a radical rethinking of ecological ethics. By understanding existence as innately coexistence, we are asked to contemplate how ecologies might be better understood, better conserved and made flourish.

Uncanny nature: Hybrid stop motion using Blender

This talk gives an overview of the project "Uncanny Nature", which incoporates a style of animation called Hybrid Stop Motion, that combines physical object armatures with virtual copies. The development of the production pipeline (using a mix of Blender, Dragonframe, Photoscan and Arduino) is discussed, as well as the way that Blender was used throughout the production to visualise, model, animate and composite the elements together.

Uncanny Nature

In Uncanny nature, Merri Randell and Chris Denaro use animation and surreal photography to make us rethink what we understand about nature.

Projecting the prison: the depiction of the uncanny in The Shawshank Redemption

The space of the prison is no longer on the margins in relation to societal `centres', but instead acts as an adjunct to the urban environment. With the disappearance of the Gothic prison from the archi-texture of contemporary cities, the meaning conveyed by its façade has lost much of its potency. It is now contemporary prison drama, as opposed to the physical façade, that represents the interface between the public and the prison. This article explores a dramatic representation of the prison (The Shawshank Redemption) through the lens of Freud's (1919/1955) notion of the uncanny and Bachelard's (1958/1994) poetics of domestic space. Incarceration, as depicted in film and television, reinforces the `place myths' of the prison (Shields, 1991). Contemporary prison drama portrays the prison as a marginal space in much the way that the Gothic façades of the 19th-century prison projected a particular message. The prison, as depicted on screen, is a simulacrum. It is a facsimile of an architectural idea that only ever existed as a façade - a façade that occluded as much as it projected.

Uncanny Valley revisited

The 'Uncanny Valley' was conceived in 1970 by Prof Masahiro Mori and details a possible relationship between an object's appearance or motion and how people perceive the object. Initially this research was used without validation. Modern technology has enabled initial investigations, summarised here, that conclude further work is required. A good design guideline for humanoid robots is desired if humanoid robots are to assist with an increasingly elderly population, but not yet possible due to technological constraints. Prosthetics is considered a good resource as the user interaction is comparable to the anticipated level of human-robot interaction and there is a wide range of existing devices.

‘Uncanny’ repetitions in Lillian Hellman’s 'The Children’s Hour'

This article addresses Lilian Hellman’s The Children’s Hour in terms of “the uncanny,” that is as a play concerned with doubling and instability. Although this is not in itself an original approach the play, it is claimed that the unsettling iterations of the work can be understood to extend further than has been read within the handful of critical accounts thus far produced. In following Sigmund Freud’s “The Uncanny” and Judith Butler’s ‘Imitation and Gender Insubordination” in their understanding of the disruptive effects of retrospection and repetition, the article works through various threats to identity and structure in Hellman’s play, concluding with a questioning account of recent moves to situate the work within a contextual frame of performance history.

NEW NOTES ON ""THE UNCANNY""

NEW NOTES ON ""THE UNCANNY"" The present paper expands the horizon of meanings associated with the concept of ""the uncanny"" (usually taken as an allegory for the return of the repressed). The narrative condition of the uncanny (or the experience of the limits of the ego), its relation to the primitive constitution of the psyche, the aspect of repetition, as well as its association with the ""fetish"" and the ""relic"" will be focused. It is our understanding that the concept of the uncanny should receive more attention from the psychoanalytic community. In fact, more attention and developments have been given to it from subjects as Linguistics, Literary Studies, Philosophy and Aesthetics, in general, than from Psychoanalysis itself Besides reflecting the neurotic functioning, the opposition homely/un-homely (uncanny) also refers to more primitive distinctions, such as self/not-self and inside/outside. The paper also addresses the romance The sea of fertility, by Yukio Mishima, so as to point out a singular aspect of the reading experience. Finally, the ideas of the fetish and of the relic will be analyzed from the point of view of the uncanny.

Zoë Wicomb's Ghosts. Uncanny Translocations in David's Story and The One That Got Away

This essay analyses Zoë Wicomb's novel David's Story and her latest collection of short stories, The One That Got Away, through the lense of cosmopolitanism and Jacques Derrida's concept of ‘hauntology’. Wicomb is a cosmopolitan author in a very precise sense: an author who embeds locally specific stories in a complex intertextual, historical and transnational web of cross-references. As settings, characters and objects move between Scotland and South Africa, it appears that the histories of these countries are mutually haunted by each other. Uncanny encounters with the past, and with memorials and art objects that take on a spectral quality, evoke an increasing sense of disorientation on the part of protagonists and readers alike. Assumptions about place, history and identity are thus constantly undermined and reconfigured.

Resonance of Unseen Things : Poetics, Power, Captivity, and UFOs in the American Uncanny /

'The Resonance of Unseen Things: Power, Poetics, Captivity and UFOs in the American Uncanny' offers an ethnographic meditation on the “uncanny” persistence and cultural freight of conspiracy theory. The project is a reading of conspiracy theory as an index of a certain strain of late-20th century American despondency/malaise, especially as experienced by people experiencing downward social mobility. Written by a cultural anthropologist with a literary background, this is a deeply interdisciplinary project that focuses on the enduring American preoccupation with captivity in a rapidly transforming world. Captivity is a trope that appears in both ordinary and fantastic iterations here, and this book shows how multiple troubled histories—of race, class, gender and power—become compressed into stories of uncanny memory.

Theory, the uncanny and the sacred

This paper examines the related but different concepts of the uncanny and the sacred. Drawing on two cases – one fictional and one real – and using Žižek’s Symbolic-Real-Imaginary as an organising frame, the paper analyses how the uncanny and the sacred are connected. It then proceeds to examine the role of theorising in sacralising the uncanny and profaning the sacred. Finally, it briefly discusses how theory might be re-enchanted.

The Uncanny Thing : Paranoia and Claustrophobia in The Thing and “Who Goes There?”

This essay examines the themes of paranoia and claustrophobia as elements of horror in John Campbell’s novella “Who Goes There?” (1938) and John Carpenter’s film-adaptation of said novella, called The Thing (1982). The novella and the film utilize the lack of trust and reliability in between the characters as elements of fear as well as supernatural elements in the form of a monster. This essay focuses on the different parts of the story running through both versions, mainly the setting, the characters and the monster, to show how the themes of paranoia and claustrophobia are used throughout these as elements of fear and horror. With the help of Sigmund Freud’s concept of the uncanny, as well as other sources, this essay argues that while the monster plays an important role throughout the story, the threats created by the paranoia and claustrophobia are equal to the monster itself.

The Uncanny in the Themes of Evil, Transgression and the Double in Nathaniel Hawthorne's "Rappaccini's Daughter"

El propósito de este artículo consiste en explorar los mecanismos y representaciones de lo siniestro en "La hija de Rappacci" de Nathaniel Hawthome como expresión del mal dentro de los límites del género gótico del siglo XIX; como expresión del tema del doble en tres personajes humanos y en uno no humano que aparecen en el cuento; y como expresión de trasgresión en el personaje principal, Giovanni Guasconte. El concepto de lo siniestro que se usará será el de la teoría psicoanalítica, siguiendo especialmente los aportes de Sigmund Freud y Jacques Lacan. The purpose of this artide is to explore the mechanisms and representations of the uncanny in Nathaniel Hawthome's "Rappaccini's Daughter" as an expression of evil within nineteenth century Gothic boundaries; as an expression of the theme of the double in three human characters and in one non-human component of Rappaccini's garden; and as an expression of transgression in Giovanni Guasconte, the main character. The concept of the uncanny to be used will be that of psychoanalytic theory, especially reliant on the contributions on the topic by Sigmund Freud and Jacques Lacan.