I propose a definition of the uncanny: an anxious uncertainty about what is real caused by an apparent impossibility. First, I outline the relevance of the uncanny to art and aesthetics. Second, I disambiguate theoretical uses of ‘uncanny’ and establish the sense of the term that I am interested in—namely, an emotional state directed towards particular objects in the world which are characteristically eerie, creepy, and weird. Third, I look at Edgar Allan Poe’s ‘The Fall of the (...) House of Usher’ as a means of drawing out the conditions that I claim are essential to uncanny experiences, and then elaborate the terms of my proposed definition. Finally, I show how the definition accounts for two paradigmatic kinds of uncanny phenomena: cases of ‘uncanny resemblances’, which include twins, doppelgangers, and very lifelike representations of the human body; and unlikely coincidences of events. (shrink)

Stawarska considers the ambiguities surrounding the antagonism between the phenomenological and the structuralist traditions by pointing out that the supposed foundation of structuralism, the Course in General Linguistics, was ghostwritten posthumously by two editors who projected a dogmatic doctrine onto Saussure’s lectures, while the authentic materials related to Saussure’s linguistics are teeming with phenomenological references. She then narrows the focus to Merleau-Ponty’s engagement with Saussure’s linguistics and argues that it offers an unusual, if not an uncanny, reading of the (...) Course, in that it identifies a phenomenological dimension within the text, against the grain of the dominant structuralist claim. This phenomenological dimension is corroborated by the authentic sources of Saussure’s linguistics, even though the latter were beyond the philosopher’s own power to know. Merleau-Ponty’s unorthodox reading of the Course as being broadly compatible with the tradition of Husserlian phenomenology has been dismissed as an error and a contresens , but Stawarska proposes that such deviant appropriations of foundational texts are the ones to cherish the most, since they effectively dismantle the received dogmas and official doctrines stuffing the cabinets of canonical philosophy. She argues specifically that Merleau-Ponty’s contested distinction between “a synchronic linguistics of speech ” and “a diachronic linguistics of language ” , which gives primacy to la parole over la langue, and raises the possibility of a systematic study of la parole, contains a more faithful response to Saussure’s own project than the received structuralist view that la langue alone constitutes the proper object of linguistic study. (shrink)

Human beings can be said to naturally seek familiarity in their environment for survival purposes, and this can explain why the mere-exposure effect, where being merely exposed to external factors in our environment, can increase preference for these factors. Familiarity in this sense can thus be framed as important for affect and preference formation and considered built upon both the subjective process of fluency and the objects of experience being processed. The feeling of uncanniness is often considered the opposite of (...) familiarity, yet within its semantic vicinity. By considering the term ‘uncanny’ as having a double meaning linked to both familiarity and unfamiliarity, however, this paper will show how this ambiguity allows for a semantic relatedness of this concept to process fluency rather than familiarity. This connection will in turn be shown to have ramifications for affect through the proposal of a fourth model of process fluency: The Embodied Fluency Model. Through consideration of Mori’s shinkawan, Freud’s notion of the uncanny, and Heidegger’s connection between uncanniness and Angst, an exploration into conceiving how fluency and uncanniness share attributes that allow for a different view on affect is propounded. (shrink)

Freud’s famous essay “The ‘Uncanny’” is often poorly understood. In this paper, I clear up the popular misconception that Freud identifies all uncanny phenomena with the return of repressed infantile complexes by showing that he offers not one but two theories of the uncanny: “return of the repressed,” and another explanation that has to do with the apparent confirmation of “surmounted primitive beliefs.” Of the two, I argue that it is the latter, more often overlooked theory that (...) faces fewer serious objections and carries greater explanatory power in respect of the uncanny. (shrink)

Freud’s discussion of uncanny [unheimlich] experiences focuses on their peculiar ambivalence. On his view, the uncanny is a paradoxical feeling of both familiarity and alienation. While Freud’s analysis of this paradoxical feeling does succeed in explaining it away, it does little to explain it. One might expect a psychoanalytical demystification of the real experience that is hidden behind the superstitious overtones of uncanny experiences. Instead, the uncanny is attributed rather anti- climactically to the combination of a (...) previous superstition (maintained unconsciously) and an entirely coincidental verification of that superstition. The implication is that there is no uncanny per se. There is no distinctive category of experience, the unique character of which tends to cause or encourage superstitious beliefs; rather, such beliefs are prerequisite to having the experience. In other words, the experience suits the belief, and not vice-versa. The uncanny is the fantasized verification of a repressed fantasy. It involves a breakdown of the reality principle and the projection of beliefs into the external world, rather than a peculiarity of feeling that can be linked intrinsically to a specific category of experience. I do not intend to reject this analysis in its entirety. The basic structure, repression and return, is sound. However, Freud’s analysis of the uncanny, which resolves uncanny ambivalence into the separate categories of consciousness and unconsciousness, merely reinstates the problematical opposition of das heimliche and das unheimliche, familiar and unfamiliar, within the mind rather than in the external world. The coincidence of the two feelings in uncanny experience cannot be explained without an intervening stage between repression and return. I will suggest that Freud’s characterization of uncanniness as the return, in superstition, of the repressed is a misplacement of the experience of uncanniness. The aesthetical feeling is the cause of, but not identical to, the projected superstitions and ideas which surround it. An explanation of the feeling of uncanniness must fall not on the side of the repressed, but on the side of consciousness. The import of my position is that the feeling of uncanniness refers, in a manner of speaking, to something “real,” rather than merely to infantile ideas projected upon the external world. Freud’s explanation makes the unconscious a kind of scapegoat to be blamed for imposing fundamentally irrational beliefs into our interpretation of present experience, in that way preserving a model of the conscious ego as autonomous, fundamentally attuned to reality and ultimately independent of the unconscious. I will argue, on the contrary, that the experience of the uncanny is not merely a falling back into irrational or infantile beliefs, but an experience of a deep disunity in personhood that rightly causes us to question our everyday confidence in the unity, independence, and rationality of our conscious sense of self. The ambivalence of the feeling has its source in an irresolvable ambivalence that can exist in consciousness, and not simply in an analytically resolvable psychical ambivalence between consciousness and the unconscious. (shrink)

What happens when scholars come together to study Buddhist and German Idealist perspectives on mind and representation? We explore this question and reflect on methodological considerations in what is often referred to as "comparative philosophy.".

In a "parenthesis of fascinated horror" before "the complete discovery and subjection of the body to science", Renaissance anatomists and poets shared peculiar emotions of dread and desire towards the bodies they dissected and described. Jonathan Sawday's ambitious project is to evoke the common taboos, resistances, and fears which the human body provoked in its various early modern investigators, while telling "stories of terrible cruelty, which are tinged by a form of dark eroticism". He is justifiably proud of the historical (...) range of his study, across medicine, cartography, literature, the law, myth, art, theology, social history, and philosophy. But he seeks more than a synthesis of these disparate domains, hoping also both to sketch a new grand narrative about conceptual, practical, and phenomenological changes regarding the body, and further "if not to dispel, then at least to explain" our own multiple, ambiguous feelings about our innards. Thus he marvellously maintains simultaneous attention to culture and psychology, combining high theory with historical precision in rare and risky fashion. (shrink)

Review of Charles Ray's recent show, Figure Ground, at The Metropolitan Museum of Art.

This paper contains my second attempt to pastiche the Lacanian philosopher and social theorist Renata Salecl. The pastiche responds to the theories of social inequality and education of Pierre Bourdieu.

Social robots are marketed as human tools promising us a better life. This marketing strategy commodifies not only the labor of care but the caregiver as well, conjuring a fantasy of technoliberal futurism that echoes a colonial past. Against techno-utopian fantasies of a good life as one involving engineered domestic help, I draw here on the techno-dystopian television show Humans (stylized HUMⱯNS) to suggest that we should find our desires for such help unsettling. At the core of my argument is (...) a return of the “uncanny valley” problem, from its reformulation as an engineering/design problem to its origins as a psychosocial symptom of an unresolved, traumatic past. I conclude that our sense of the uncanny may be best understood as a moral capacity that should be honed rather than evaded. (shrink)

Many people regularly watch horror films. While it seems clear that sporadically watching horror films will not make us bad people, if it is the main type of media that we consume, then are we still safe? I will defend most horror films from Di Muzio (2006), who worries that we are harming our moral character by watching them. Most horror films (e.g., Candyman, Get Out, and Scream) fall into what I call the summit of safe horror (SoSH), the inverse (...) of the uncanny valley effect, wherein almost-but-not-quite-human robots elicit discomfort from viewers rather than empathy. In the SoSH, violence elicits excitement rather than pity for the victims because the violence is mitigated by, among other things, comic relief and foolish choices by the characters. These narrative features allow most horror films to be intense enough to cause excitement and terror yet not so intense as to cause a negative moral attitude to form in our soul, because we feel what Aristotle would consider the appropriate amount of fear. Torture porn, a subset of horror films lacking plot and focus solely on gore (e.g., the Saw sequels), falls outside of the SoSH because it lacks these narrative features, making the violence depicted too intense to be entertaining. These films outside the SoSH will not necessarily cause an inappropriate amount of fear but are simply the only ones that could possibly do so. Caution: spoilers ahead! (shrink)

From Joan Lindsay and cinematic master Peter Weir to Ted Kotcheff and Warwick Thornton, over past decades authors, screenwriters and filmmakers have produced films that depict the vast Australian landscape—simply referred to as terra nullius during colonial times by settlers literally confronting a continent vastly different from anything they were culturally and geographically accustomed to—as mysterious, impenetrable and ominous. Just like the dark cold of Scandinavia lends itself perfectly to contemporary Nordic Noir, the Australian New Wave or Australian Film Revival (...) of the 1970s and 1980s saw the release of films that encapsulated the eeriness of this largely rugged, arid and windswept continent, which opens up possibilities for anything to happen within those very, limitless, territories. This article analyses Weir’s Picnic at Hanging Rock (1975), Kotcheff’s horror flick par excellence Wake in Fright (1971); "the best and most terrifying film about Australia in existence" and with a TV-series remake in 2017, and Thornton’s more recent portrayal of Aboriginal misery and poverty Samson and Delilah (2009) set against a hostile urban backdrop, from a Foucauldian perspective. In its theoretical framework it also draws primarily on Freud. Heterotopia is used as a term to refer to strange, bewildering spaces that are disturbing and undecipherable—also described as “an unimaginable space, representable only in language, and as a kind of semimythical real site” (as articulated in Knight, 2017, 141). Foucault’s concept is applied in a cinematic context and used in conjunction with Freud’s notion of the uncanny as a feeling of uneasiness; or, as has been explained in his seminal text “The Uncanny” (1919), “that class of the terrifying that leads back to something long known to us, once very familiar.” We argue that these eerie, fear-induced screened narratives represent a nation whose weather-beaten, freedom-loving yet at heart anxiety-ridden people are most definitely a product of their environment. (shrink)

The advent of the so-called Companion Robots is raising many ethical concerns among scholars and in the public opinion. Focusing mainly on robots caring for the elderly, in this paper we analyze these concerns to distinguish which are directly ascribable to robotic, and which are instead preexistent. One of these is the “deception objection”, namely the ethical unacceptability of deceiving the user about the simulated nature of the robot’s behaviors. We argue on the inconsistency of this charge, as today formulated. (...) After that, we underline the risk, for human-robot interaction, to become a hallucinatory relation where the human would subjectify the robot in a dynamic of meaning-overload. Finally, we analyze the definition of “quasi-other” relating to the notion of “uncanny”. The goal of this paper is to argue that the main concern about Companion Robots is the simulation of a human-like interaction in the absence of an autonomous robotic horizon of meaning. In addition, that absence could lead the human to build a hallucinatory reality based on the relation with the robot. (shrink)

Modernist Architecture and Ruins: On Ruins as a Minus, Neoclassicism and the Uncanny.

There is an uncanny agreement between the queer rejection of marriage, which resists affirming the legal recognition of same-sex relationships on the grounds that it codifies and normalizes non-heterosexual desire, and the religious objections to gay rights in North America, which oppose legal recognition on the grounds that it compromises the meaning of marriage and family. This article examines the relevance of Kierkegaard’s religious existentialism for the broader queer project of undermining the “normal” and moving beyond identity politics. It (...) offers a religious corrective of heteronormative versions of Christianity, exploring Kierkegaard's import for queer and critical theory. (shrink)

Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...) But considering it in relation to conceptual art sheds light on its achievements and one notable limitation. In the realm of appropriation, the fact that the re-recordings exhibit both close resemblance to and subtle differences from the originals has prompted an intensity of close listening by audience members, with distinctive aesthetic experiences in the realm of the uncanny. In the realm of participation, Swift has creatively motivated her fans to abandon her beloved original albums, and the fans have in turn evolved a variety of strategies to shift their allegiance to the new versions and hold each other accountable. When it comes to institutional critique—the movement in conceptual art that highlights and challenges the power structures governing art institutions—Swift’s project has raised awareness of troubling and exploitative power dynamics in the music industry. However, consideration of historical precursors of Swift’s institutional critique may lead us to question some elements of her self-presentation as a victim of gendered exploitation. (shrink)

This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...) values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

The hazards of the use of English as a default language in analytic philosophy are obvious to everyone except mainstream analytical philosophers. The uncanny conceptual resemblance between what one is told about Jerry Fodor’s universal Language of Thought and current globalese basic academic English calls for reflection. [...] What I am pleading for is not just a matter of paying great attention to other philosophical traditions. It is a matter of understanding how English cannot serve as any centre or (...) point de départ for the description of all cognitive systems. We need to try to define the topology of the human cognitive space where English must show up as the very untypical case of a natural language that it manifestly is. Pace Donald Davidson, English is not the measure of all things. And historical cognitive ethnography is relevant to philosophical epistemology. The indispensable basis for any philosophy with global ambitions is a conceptual “experimental method” applied to the problems of conceptual diversity among human languages regarding not least of all the conceptual schemes of which one’s own philosophical keywords are an integral part. (shrink)

El propósito del presente ensayo es desarrollar una lectura existencial del poema “Del país de la pena” escrita por la poeta venezolana Hanni Ossott con el fin de pensar el término “expatriación” como concepto filosófico. Luego de una introducción histórica que busca situar el poema de Ossott al filo de una tradición poética que busca recuperar la sensación de extranjeridad frente a lo propiamente nacional, éste ensayo se propone trazar los horizontes metodológicos de la interpretación del poema a través de (...) una lectura del ensayo “Paysage avec dépaysement” [Paisaje en desorientación] escrito por el filósofo francés Jean-Luc Nancy. La lectura del ensayo de Nancy posibilitará la lectura existencial del poema de Ossott con la que el presente ensayo buscará demonstrar la riqueza filosófica de este poema y la manera en que tematiza la expatriación. A modo de conclusión, se sugerirá que la expatriación puede entenderse como una condena pero no necesariamente de modo negativo sino a través de una valencia positiva que éste término puede tener para la conceptualización contemporánea sobre América Latina. -/- The purpose of this paper is to develop an existential reading of the poem “Del país de la pena” written by the Venezuelan poet Hanni Ossott with the aim of thinking the term “expatriation” as a philosophical concept. Following a historical introduction that seeks to situate Ossott’s poem within a poetic tradition that tries to recuperate the feeling of strangeness in the face of the properly national, this essay attempts to trace the interpretative and methodological horizons of the poem through a reading of the essay “Paysage avec dépaysement” [Uncanny Landscapes] written by the French philosopher Jean- Luc Nancy. The reading of Nancy’s essay will facilitate the existential reading of Ossott’s poem with which the present essay will seek to demonstrate the philosophical richness of this poem and the way in which it thematizes expatriation. By way of conclusion, it will be suggested that expatriation can be understood as a sentence, but not necessarily in a negative manner; rather, it can be thought through a positive valence that can aid in the contemporary conceptualization about Latin America. (shrink)

What is the human body? Both the most familiar and unfamiliar of things, the body is the centre of experience but also the site of a prehistory anterior to any experience. Alien and uncanny, this other side of the body has all too often been overlooked by phenomenology. In confronting this oversight, Dylan Trigg’s The Thing redefines phenomenology as a species of realism, which he terms unhuman phenomenology. Far from being the vehicle of a human voice, this unhuman phenomenology (...) gives expression to the alien materiality at the limit of experience. -/- By fusing the philosophies of Merleau-Ponty, Husserl, and Levinas with the horrors of John Carpenter, David Cronenberg, and H.P. Lovecraft, Trigg explores the ways in which an unhuman phenomenology positions the body out of time. At once a challenge to traditional notions of phenomenology, The Thing is also a timely rejoinder to contemporary philosophies of realism. The result is nothing less than a rebirth of phenomenology as redefined through the lens of horror. (shrink)

Visitors is a hybrid art film fusing photography and music into a complex abstract texture for the attention of the viewer. It is also a requiem for our ‘New Order for the Ages’ in which humanity grows more and more technologically interconnected and communality means being alone together. We argue that Visitors can be experienced as a seeing aid designed to situate the viewer bewilderingly as needing to reacquire the capacity to see human beings as human beings. This is achieved (...) by various cinematic strategies of dépaysement, which render the familiar uncommon again by enabling us to recapture the uncanniness of what it is to be human. Most strikingly, seeing one another anew is facilitated in Visitors by the autonomous gradual musical processes of Philip Glass’s minimalist score, which not only affords a musical narrative for the imagery but also binds the film ironically to Beethoven’s Ninth Symphony. (shrink)

The psychiatric diagnostic system, as exemplified by the DSM, is a pseudo-scientific framework for diagnosing sick Cartesian isolated minds. As such, it completely overlooks the exquisite context sensitivity and radical context dependence of human emotional life and of all forms of emotional disturbance. In Descartes’s vision, the mind is a “thinking thing,” ontologically decontextualized, fundamentally separated from its world. Heidegger’s existential phenomenology mended this Cartesian subject-object split, unveiling our Being as always already contextualized, a Being-in-the-world. Here I offer a critique (...) of studies in “phenomenological psychopathology” that presuppose the validity of the psychiatric diagnostic system and leave it unchallenged. In this vein, I contend that all emotional disturbances are constituted in an indissoluble context of human interrelatedness. Specifically, I claim that all emotional disturbances, including those objectified by the DSM, take form in relational contexts of severe emotional trauma. There are no psychiatric entities, only devastating contexts. Additionally, I show that Heidegger’s analyses of Angst, world-collapse, uncanniness, and thrownness into Being-toward-death provide extraordinary philosophical tools for grasping the existential significance of such contexts of emotional trauma. Applying Heidegger’s concept of authenticity, I suggest that emotional health entails an ease of passage—i.e., an absence of dissociation—between the world of trauma and the world of everydayness. (shrink)

Hegel was ambivalent about Dutch genre painting’s uncanny ability to find beauty in daily life. The philosopher regarded the Dutch painterly aesthetic as Romanticism avant la lettre, and classifies it as such in his Lectures on Aesthetics, under the section entitled “Die romantischen Künste [The Romantic arts].”1 Dutch art, in Hegel’s reading, is marred by many shortcomings. The most prominent among these are the “subjective stubbornness [subjective Beschlossenheit]” that prevents this art from attaining to the “free and ideal forms (...) of expression” that marked the productions of Italian artists such as Raphael. In contradistinction to their Italian counterparts, Dutch artists in Hegel’s view are apt to. (shrink)

In his work through the early 1930’s, Heidegger determines what it means to be an authentic self through fundamental attunements such as anxiety, boredom, uncanniness and guilt, and equi-primordially via understanding and thrown projection. The way that attunement and understanding structure authentic disclosure of being involves paradoxical gestures juxtaposing meaning and meaninglessness, presence and absence, affirmation and negation, possibility and reality, holism and individuation, normativity and own-ness. The key to navigating and unifying this tangle of contradictory moments, as Heidegger reminds (...) his readers, is in understanding the dynamics of temporality. In this paper I discuss common ways that contemporary readers of Heidegger render authenticity inauthentic by interpreting such tropes as anxiety, the self and the nothing by reference to what Heidegger calls the ordinary conception of time, the sequential emerging, lingering and passing away of beings. Thought via ordinary time, nothingness opposes itself to presence, making authentic anxiety appear similar to depression as the breakdown of possibilities. I contrast these readings with my interpretation of authentic temporality, and explain how my reading of time changes the way the authentic self, attunement and projective understanding disclose themselves. In choosing the particular authors that I cite in support of my representation of inauthentic interpretations of authenticity, I do not mean to imply that these writers are united in their approaches to Heidegger. On the contrary, they differ amongst themselves concerning many aspects of his thinking. My purpose is to highlight what I take to be key points of intersection among their differing accounts. (shrink)

Monsters lurk within mathematical as well as literary haunts. I propose to trace some pathways between these two monstrous habitats. I start from Jeffrey Jerome Cohen’s influential account of monster culture and explore how well mathematical monsters fit each of his seven theses. The mathematical monsters I discuss are drawn primarily from three distinct but overlapping domains. Firstly, late nineteenth-century mathematicians made numerous unsettling discoveries that threatened their understanding of their own discipline and challenged their intuitions. The great French mathematician (...) Henri Poincaré characterised these anomalies as ‘monsters’, a name that stuck. Secondly, the twentieth-century philosopher Imre Lakatos composed a seminal work on the nature of mathematical proof, in which monsters play a conspicuous role. Lakatos coined such terms as ‘monster-barring’ and ‘monster-adjusting’ to describe strategies for dealing with entities whose properties seem to falsify a conjecture. Thirdly, and most recently, mathematicians dubbed the largest of the sporadic groups ‘the Monster’, because of its vast size and uncanny properties, and because its existence was suspected long before it could be confirmed. (shrink)

The paper discusses the aesthetic aspects of place‑making practices in the urban environment of Western metropoles that are struggling with the progressive undifferentiation of their space and the weakening of communal and personal bonds. The paper starts by describing the general characteristics of an urban environment as distinct from the traditional vision of a city as a well‑structured entity, and in relation to formal and informal aesthetics and participatory design ideas. The author then focuses on two contrary but complementary tactics (...) for translating a space into a positively evaluated p l a ce: by dome ticating it through introducing nature into an urbanscape; and by accentuating its alienness with the example of the urban exploration movement. The growing popularity of the latter is presented in relation to the discourses related to the decline of cities and the romantic endeavours for reaching into the realm of the unknown or the uncanny in order to rediscover and enrich the unique identity of a place. The paper ends with conclusions that present the necessity for the cultivation of a multidimensional aesthetic awareness and an aesthetic engagement as a crucial issue in the complex task of endowing places with a density of meaning. (shrink)

Juha Raikka argues against disassociation from collective responsibility based on a premise of logical inconsistency insofar as the conclusion ‘one is not guilty’ does not necessarily follow from the premise that ‘everyone is guilty.’ Raikka builds his case on a fictionalized national, ethnic, or cultural group that participates in human sacrifices for the sake of ‘medical reasons’ or human health. He concedes that this fictionalized group bears an uncanny resemblance to Western society and their proposed collective responsibility for practices (...) ranging from (A) foreign conflicts to (B) Environmental pollution and (C) overconsumption of “third world” foreign natural resources. Arguably, these practices could be parsed as exercises conducive or equal to ‘human sacrifices’. Our discussion here will be all but entirely subsumed by (C). (shrink)

This paper explores the concept of "inorganic sexuality" in the work of Italian writer and philosopher Mario Perniola. The main objective is to develop the controversial and original aspects of Perniola's thought within his aesthetic theory of feeling. Perniola elaborates the so-called "thing that feels", namely a feeling in which the neutral and impersonal dimensions of the things flow into organic life and vice versa. This perspective, as will be clarified, by dissolving the vitalist and spiritualist drives of the subject, (...) enlarges the horizon of aesthetic feeling by welcoming what is commonly left outside of it: the inorganic and material world, in its surprising aspects, but also in its uncanny and disturbing ones. Therefore, the main goal of this paper is to show the significance and the value of neutral sexuality, which opens up a space of experiences beyond the traditional metaphysical oppositions such as masculine/feminine, organic/inorganic, alive/dead, real/virtual, gender/sex. (shrink)

In Aristotle’s physics and biology, matter’s capacity for spontaneous, opaque, chance deviation is named by automaton and marked with a feminine sign, while at the same time these mysterious motions are articulated, rendered knowable and predictable via the figure of ta automata, the automatic puppets. This paper traces how automaton functions in the Aristotelian text as a symptomatic crossing-point, an uncanny and chiasmatic figure in which materiality and logos, phusis, and technē, death and life, masculine and feminine, are intertwined (...) and articulated. Automaton permits a mastery of generative materiality for teleological metaphysics, but also works to unsettle teleology’s systematic and unifying aspirations. (shrink)

One of the dominant themes structuring the trajectory of Jean-François Lyotard's philosophical work is his concern to think the event in a way that renders it intelligible, but that also respects the alterity and the uncanniness that are essential to it. In this paper I defend Lyotard's earlier understanding of the event, articulated most thoroughly in Discours, figure, from the criticisms of the later Lyotard, articulated most thoroughly in The Differend. More specifically, I attempt to demonstrate that the event, as (...) disruption of the stable system of signification, is given immediately with the signification that it disrupts. (shrink)

Following Freud’s analysis of the fragile line between the uncanny double and its comic redoubling, I identify the doubling of the double found in critical moments of Hegelian dialectic as producing a kind of comic effect. It almost goes without saying that two provides greater pleasure than one, the loneliest number. Many also find two to be preferable to three, the tired trope of dialectic as a teleological waltz. Two seems to offer lightness, relieving one from her loneliness and (...) lacking the complications of a third who comes in between. And yet, we learn through Marx and Freud that the double (even the double of tragedy and farce) borders on something closer to horror than comedy. -/- In the following, I would like to explore why four is funnier than two in my staging of dialectic as the doubling of the double or, to borrow a movie title from Laurel and Hardy, “Twice Two” (Roach et al. 1933a). I will begin by exploring the formulations of the double in the form of a pair of opposites and in the form of a pair of twins. The literary tropes of the double as the odd couple, on one side, and the twins, on the other, appear to serve very different narrative functions, which incite different kinds of affective responses from the audience. However, the form of the opposed double sometimes conceals the realization that the empty or fragmented content of the first is only reduplicated in the second. The “straight man” of the odd couple cannot see himself in his counterpart “the comic.” The redoubling of the double, however, forces not only the audience, but the original double on stage to confront what was already present, but unrealized, from the beginning. To illustrate this redoubling of the double within the opening of Hegel’s Science of Logic, I consider two short films by Laurel and Hardy in which the comic duo redoubles itself. The formula (2 x 2) produces a comic excess through the dialectical redoubling of there uncanny double. (shrink)

The first part of the paper, “Foyer: feeling, look- ing, between-us” establishes the role of touch in intersubjectivity. Starting with Irigaray’s notion of the entre-nous, the “between-us,” I use touch as an example of deeply intersubjective communi- cation, an attempt to overcome estrangement. The ambiguity of touching, the physical action of touching and the affective reaction of feeling, is central to this. The second section, “Reception: receptivity, orderings of the sensible,” consolidates this experience of intersubjective touching within the confines of (...) the demarcated spatial divisions of the hotel, which leads to insights concerning the physical and psychical architecture of the archetypal hotel. We return to examine the notion of “estrangement,” questioning how and why it is altered by spatial layout and sequencing. In this section I subject the usual discussion of Freud’s unheimlich or “uncanny” to some affective spatial observations, and suggest Caillois’ idea of “psychasthenia” (1987) as a useful supplement to think about touching and feeling in the unhomely home of the hotel. The third section, “Room: the caress,” of Levinas’ notion of the caress and Irigaray’s reading of this, from which I grasp towards an ethical-affective relation of between-ness, as much through non-touching as through physical touching. (shrink)

Throughout the bulk of the Reformed Tradition’s history within both Europe and the United States, most scholars have dismissed pastor and theologian Moïse Amyraut as a seventeenth century French heretic whose actions and theology led to the demise of the Huguenots in France. However, upon further introspection into Amyraut’s claims as being closer to Calvin (soteriologically) than his Genevan successors, one finds uncanny parallels in the scriptural commentaries and biblical insight into the expiation of Christ between Calvin and Amyraut. (...) By comparing key scriptural passages concerning the atonement, this article demonstrates that Reformed theologian Moïse Amyraut in fact propagated a universal atonement theory which parallels Calvin’s, both men ascribing to biblical faithfulness, a (humanistic) theological method, and similar hermeneutic. As such, both Calvin and Amyraut scripturally contend that God desires and provided the means for the salvation of the whole world. Further, the article demonstrates that Calvin’s successor, Theodore de Beza, could not in fact make the same claims as Amyraut, this article demonstrating that Beza went beyond Calvin’s scriptural approach to Christ’s expiation. Therefore, this article supports a more centrist approach from within and outside the Reformed tradition by demonstrating that Calvin and Amyraut concentrically held to God’s gracious provision in Christ for the saving of the whole world, for those who would believe in Christ for salvation. (shrink)

The appeal to ordinary language is a central feature of Wittgenstein’s later philosophy: he reminds us that our words find meaning in the ordinary practices and forms of life in which they are used. This emphasis on the ordinary may seem to clash with Heidegger’s claim that average everyday understanding is marked by inauthenticity: is Wittgenstein’s emphasis on ordinary language fundamentally inauthentic? On the contrary, I argue, Wittgenstein’s emphasis on the ungroundedness of our ordinary practices parallels Heidegger’s discussion of anxiety (...) and uncanniness, suggesting that we can unearth something like a Heideggerian appeal to authenticity in Wittgenstein’s appeal to ordinary language. (shrink)

I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...) ugliness sits opposed to beauty across a neutral midpoint (the argument from proposed intensions). And third, ugliness and disgustingness function in the same way in both giving rise to representations of contamination (the argument from the law of contagion). In making these arguments, I show why prominent objections to the thesis do not succeed, cast light on some of the artistic functions of ugliness, and, in addition, demonstrate why a dispositional account of disgustingness is correct, and present a novel problem for warrant-based accounts of disgustingness (the ‘too many reasons’ problem). (shrink)

This book explores how robotics and artificial intelligence can enhance human lives but also have unsettling “dark sides.” It examines expanding forms of negativity and anxiety about robots, AI, and autonomous vehicles as our human environments are reengineered for intelligent military and security systems and for optimal workplace and domestic operations. It focuses on the impacts of initiatives to make robot interactions more humanlike and less creepy. It analyzes the emerging resistances against these entities in the wake of omnipresent AI (...) applications. It unpacks efforts by developers to have ethical and social influences on robotics and AI, and confronts the AI hype that is designed to shield the entities from criticism. The book draws from science fiction, dramaturgical, ethical, and legal literatures as well as current research agendas of corporations. Engineers, implementers, and researchers have often encountered users' fears and aggressive actions against intelligent entities, especially in the wake of deaths of humans by robots and autonomous vehicles. The book is an invaluable resource for developers and researchers in the field, as well as curious readers who want to play proactive roles in shaping future technologies. (shrink)

Bringing together a genealogy of authors, concepts, and aesthetic case studies, this article aims to contribute to the discussion on ordinary aesthetics by focusing on the tensions that are intrinsic to walking as a fundamental embodied action in everyday urban life. These tensions concern the movement of walking itself and its relation to one’s surroundings, but it also concerns a certain complementarity between home (familiarity) and wandering. Experiencing space and thresholds that disrupt one’s relationship with home and the everyday can (...) be understood as part of a modern “anti-home” tendency that lies at the core of several artistic and aesthetic practices. On the other hand, the study of walking and its relationship with the ordinary has also been enhanced and complexified by the mediation of images and technologies of reproduction. Approaching the paradoxes and ambiguities of everydayness from the perspective of walking allows us to better understand the ordinary as an in-between concept composed of evidence and mystery, familiarity and strangeness. Walking itself, as an ordinary element of life, is an unstable stabilisation, an unconsciousness that may become awareness, an immersive action that knows interruptions, a way of repeating paths that can also lead to detours and discoveries. (shrink)

This collection of writings on aesthetics includes selections from Theodor Adorno, Walter Benjamin, Mikhail Bakhtin, Sigmund Freud, Martin Heidegger, Amy Mullin, Friedrich Nietzsche, and Frederich Wilhelm Joseph von Schelling. This collection may still be available as a print-on-demand title at the Ryerson University bookstore.

In my review, I discuss the Polish translation of Mark Fisher’s The Weird and the Eerie, published by Słowo/obraz terytoria. Originally released in December 2016, Fisher’s collection of thirteen essays explores cultural texts by figures like Howard P. Lovecraft, David Lynch and Joy Division. Fisher employs a theoretical framework heavily influenced by post-Lacanian, post-Derridean and Deleuzean concepts. The translation, of Tymon Adamczewski and Andrzej Karalus, confronted significant challenges, particularly with rendering the terms “weird” and “eerie”. I highlight the paradox of (...) Fisher’s work, which intentionally defies traditional academic boundaries, inducing discomfort in readers accustomed to conventional analyses. Fisher’s exploration of disruptions and unsettling presences or absences is effectively conveyed in the Polish edition. The review notes the vibrant discourse the translation has provoked in Poland, drawing interest from various academic fields. I conclude that Fisher’s work transcends traditional categories, necessitating new frameworks for understanding, and the Polish edition has significantly invigorated philosophical discussions. (shrink)

We depend upon explanation in order to “make sense” out of our world. And, making sense is all the more important when dealing with change. But, what happens if our explanations are wrong? This question is examined with respect to two types of explanatory model. Models based on labels and categories we shall refer to as “representations.” More complex models involving stories, multiple algorithms, rules of thumb, questions, ambiguity we shall refer to as “compressions.” Both compressions and representations are reductions. (...) But representations are far more reductive than compressions. Representations can be treated as a set of defined meanings – coherence with regard to a representation is the degree of fidelity between the item in question and the definition of the representation, of the label. By contrast, compressions contain enough degrees of freedom and ambiguity to allow us to make internal predictions so that we may determine our potential actions in the possibility space. Compressions are explanatory via mechanism. Representations are explanatory via category. Managers are often confusing their evocation of a representation as the creation of a context of compression . When this type of explanatory error occurs, more errors follow. In the drive for efficiency such substitutions are all too often proclaimed – at the manager’s peril. (shrink)