The uncanny is the weird, the strange, the mysterious, a mingling of the familiar and the unfamiliar. Even Freud, patron of the uncanny, had trouble defining it. Yet the uncanny is everywhere in contemporary culture. In this elegant book, Nicholas Royle takes the reader across literature, film, philosophy, and psychoanalysis as he marks the trace of the uncanny in the modern world. Not an introduction in the usual sense, Nicholas Royle's book is a geography of the (...) uncanny as it manifests itself - and disturbs our thinking - in a range of disciplines. (shrink)

This paper offers a critical response to Fredrik Svenaeus’ use of the Heideggerian uncanny to analyse the experience of illness. It is argued that the uncanny is part of a culture of concepts through which the condition of modernity has been analysed by philosophers, social theorists, writers and artists. All centre upon the idea of alienation, and thus not being at home in the society that should be one’s home. This association will be exploited to offer a reinterpretation (...) of Svenaeus’ thesis as a sociological and political, rather than an ontological, one. By reviewing the work of Hegelian philosophers, Georg Simmel, and novelists, represented by Mann, Camus and McCullers, it will be argued that illness is bound up with social alienation, both as something that is caused by conditions of alienation and as an interpretative response to alienation. Seeing illness as a metaphor of the human condition in modernity allows the medical humanities to inform therapy, that would allow the patient to understand their illness, not as the ontological condition of Dasein, but rather as something mediated by modern social, economic and political conditions. (shrink)

The uncanniness of Freud's uncanny -- Alligators, crocodiles and the monstrous uncanny -- The uncanny urban underside -- The uncanniness of Schelling's uncanny -- The uncanny and the work of Walter Benjamin -- The uncanny cyborg -- The uncanny and the fictional -- The uncanny and the modern adult literary fairy tale -- The uncanny and the gothic vampire romance -- The uncanny and the detective story -- The uncanny (...) and the weird horror story -- The uncanny and the dystopian science fiction novel -- The uncanny and the historiographic metafictional novel -- The uncanny commonwealth of Christianity -- The living Polytheism of the Fung Loy Kok institute of Taoism/Taoist Tai Chi. (shrink)

What is the normative import of telling a genealogy of our present reason-giving practices? In this paper, I will focus on Michel Foucault’s materialist genealogies in Discipline and Punish and The History of Sexuality, Vol. 1, which attend to the social and material settings in which we act and give and ask for reasons. A number of influential critics have interpreted them as a critical evaluation of our reason-giving practices. But understood in this way, Foucault’s genealogical project faces significant philosophical (...) problems. I will sketch a different account, arguing that telling a genealogy can have an uncanny effect: It can disrupt our familiarity with the everyday world by revealing to us the embodied norms that structure our everyday activities. Once we recognize that our situation is structured by normative demands, we cannot simply let ourselves be carried along by found norms. Genealogies call on us to take responsibility for these norms and to practically transform the space in which we act. (shrink)

This essay presents an ethnographic account of two divorced Catholic women's memories of praying to the Virgin Mary while seeking illegal abortions under the Romanian socialist regime. These women's stories focused on troubling memories of being in love, reflections that were retrospectively shaped by divorce. Drawing on Sigmund Freud's notion of the uncanny, I call these recollections uncanny memories of the self in love. Uncannily remembering one's self in love combines experiential self-examination and ethical assessment of actions. The (...) notion of the uncanny self in love thus helps bridge the divide between experience- and action-oriented approaches to lived ethics. I argue that the ethical significance of the Virgin Mary's actions depended on my acquaintances’ approach to love. For one woman seeking to stay estranged from her ex-husband, the Virgin Mary's actions accentuated his ethical immaturity. My other acquaintance harbored more ambivalent feelings toward her ex-husband; for her, talking about the Virgin Mary helped her relativize feelings of ethical indignation. As a core implication of this argument, I urge greater awareness of the problematic tendency to include the need for greater awareness of tendencies in theories of lived ethics to reify socially situated perspectives on love. (shrink)

The development of robots that closely resemble human beings can contribute to cognitive research. An android provides an experimental apparatus that has the potential to be controlled more precisely than any human actor. However, preliminary results indicate that only very humanlike devices can elicit the broad range of responses that people typically direct toward each other. Conversely, to build androids capable of emulating human behavior, it is necessary to investigate social activity in detail and to develop models of the cognitive (...) mechanisms that support this activity. Because of the reciprocal relationship between android development and the exploration of social mechanisms, it is necessary to establish the field of android science. Androids could be a key testing ground for social, cognitive, and neuroscientific theories as well as platform for their eventual unification. Nevertheless, subtle flaws in appearance and movement can be more apparent and eerie in very humanlike robots. This uncanny phenomenon may be symptomatic of entities that elicit our model of human other but do not measure up to it. If so, very humanlike robots may provide the best means of pinpointing what kinds of behavior are perceived as human, since deviations from human norms are more obvious in them than in more mechanical-looking robots. In pursuing this line of inquiry, it is essential to identify the mechanisms involved in evaluations of human likeness. One hypothesis is that, by playing on an innate fear of death, an uncanny robot elicits culturally-supported defense responses for coping with death’s inevitability. An experiment, which borrows from methods used in terror management research, was performed to test this hypothesis. [Thomson Reuters Essential Science Indicators: Fast Breaking Paper in Social Sciences, May 2008]. (shrink)

This paper offers a phenomenological analysis of Heidegger’s account of “the uncanny” as it relates to the coronavirus pandemic. It explores how the pandemic has disrupted Dasein’s sense of “homelike” familiarity and how this disruption has undermined our ability to be, that is, to understand or make sense of things. By examining our experience of temporality, lived-space, and intersubjectivity, the paper illuminates different ways in which the pandemic has left us confused and anxious about our self-interpretations and future projects. (...) The paper concludes by showing how the uncanny is not simply something we feel in times of crisis; it is, for Heidegger, who we are. This means the secure feeling of familiarity that we embodied prior to the pandemic was an illusion all along, that we are not and never have been at-home in the world. (shrink)

‘Uncanny’ works by a number of contemporary artists are analysed in relation to the themes and insights of both cybernetics and existentialist philosophy. This reveals that central ideas from these largely neglected fields remain current and potent within innovative art practices. Artists employ cybernetic systems to provoke aesthetic sensations of the uncanny, while simultaneously encapsulating existentialist concerns. Pierre Huyghe’s mysterious installation responds to the life-breath of visitors to mutate human cancer cells. Susan Collins and Rafael Lozano-Hemmer construct cybernetic (...) worlds-within-worlds to render us beings-for-others during intimate encounters with strangers. Urich Lau and TC&A involve and implicate the audience in eerie expressions of what existentialist term being-towards-death. These artworks prompt feelings of separation, alienation and existential angst; and emphasize human estrangement within a mysterious, incomprehensible or absurd world. But a cybernetic-existentialist reading also reveals that their evocation of human disquiet and isolation is tempered by an equal emphasis on positive notions of feedback loops, ‘separation with communion’, existential freedom and authentic interactions with the world and with Others. The artworks articulate cybernetics’ and existentialism’s shared interest in collapsing boundaries and erasing distinctions: between agents within a system; between the self and the Other; and between perceiving, feeling and acting. (shrink)

There are moments when things suddenly seem strange - objects in the world lose their meaning, we feel like strangers to ourselves, or human existence itself strikes us as bizarre and unintelligible. Through a detailed philosophical investigation of Heidegger's concept of uncanniness (Unheimlichkeit), Katherine Withy explores what such experiences reveal about us. She argues that while others (such as Freud, in his seminal psychoanalytic essay, 'The Uncanny') take uncanniness to be an affective quality of strangeness or eeriness, Heidegger uses (...) the concept to go beyond feeling uncanny to reach the ground of this feeling in our being uncanny. -/- "Heidegger on Being Uncanny" answers those who wonder whether human existence is fundamentally strange to itself by showing that we can be what we are only if we do not fully understand what it is to be us. This fundamental finitude in our self-understanding is our uncanniness. In this first dedicated interpretation of Heidegger's uncanniness, Withy tracks this concept from his early analyses of angst through his later interpretations of the choral ode from Sophocles's Antigone. Her interpretation uncovers a novel and robust continuity in Heidegger's thought and in his vision of the human being as uncanny, and it points the way toward what it is to live well as an uncanny human being. (shrink)

The uncanny valley—the unnerving nature of humanlike robots—is an intriguing idea, but both its existence and its underlying cause are debated. We propose that humanlike robots are not only unnerving, but are so because their appearance prompts attributions of mind. In particular, we suggest that machines become unnerving when people ascribe to them experience, rather than agency. Experiment 1 examined whether a machine’s humanlike appearance prompts both ascriptions of experience and feelings of unease. Experiment 2 tested whether a machine (...) capable of experience remains unnerving, even without a humanlike appearance. Experiment 3 investigated whether the perceived lack of experience can also help explain the creepiness of unfeeling humans and philosophical zombies. These experiments demonstrate that feelings of uncanniness are tied to perceptions of experience, and also suggest that experience—but not agency—is seen as fundamental to humans, and fundamentally lacking in machines. (shrink)

Through the many reinterpretations of Freud’s essay Das Unheimliche (1919) within French Postmodernism, in recent decades, the uncanny has become a vague synonym for the methodology of deconstruction. The article aims to disambiguate the uncanny by reestablishing its characterizing nucleus and relocating it within the aesthetics through the philosophy of Stanley Cavell. The American philosopher claims that this feeling can be generated by drawing attention to the ordinary, which is so close and familiar to fade out of focus. (...) Cavell and the German Philosopher Juliane Rebentisch following him show that artistic practices can reinforce this experience, as through displacements and dislocations, they deprive objects of daily use and ordinary matters of their familiarity and force us to look more closely at their material, sensorial, and phenomenological dimensions. In this way, Cavell and Rebentisch offer a path to reconstitute a stable conceptual framework for defining the uncanny, linking it to Freud’s definition of something familiar appearing in an unfamiliar light. At the same time, they also propose a novelty by interpreting the uncanny not as inherently frightening and disturbing but as a compelling affective state that encourages a willingness to reappropriate and rediscover the ordinary. (shrink)

I show how mathematical platonism combined with belief in the God of classical theism can respond to Field's epistemological objection. I defend an account of divine mathematical knowledge by showing that it falls out of an independently motivated general account of divine knowledge. I use this to explain the accuracy of God's mathematical beliefs, which in turn explains the accuracy of our own. My arguments provide good news for theistic platonists, while also shedding new light on Field's influential objection.

Belief systems of human societies are deeply related with animals, which are symbolised in traditional narratives. Here we review reported cases from around the world and our own ethnographic observations from southern Chile, to analyse beliefs associated with owls. In particular, we explore the role that owls play in traditional narratives and the likely reasons of their saliency, including their connections with the extraordinary. For the latter, we utilise the concept of “the uncanny” to analyse how owls generate a (...) feeling of something not simply mysterious but, more specifically, something strangely familiar. Owls trigger unsettling experiences of the “normal,” with the ensuing feelings of unhomeliness, which may explain their saliency across human societies. Finally, we discuss that the uncanny nature of owls is precisely what locates them in a culturally stimulating position and what should be considered by conservationists and politicians to tackle a more integrative approach to owl conservation. (shrink)

In this article, I argue for the notion of what I term ‘uncanny water’ as a conceptual tool for reading contemporary oceanic fictions. The uncanny’s affective capacity to destabilise epistemological and ontological certainties makes it a particularly potent literary tool for challenging the nature/culture binary. I argue that fictions which actively defamiliarise the ocean can be used to redress the anthropocentric privilege found in hitherto narratives of the oceanic that were predicated upon mastery and control, and that (...) class='Hi'>uncanny moments of displacement and uncertainty can illuminate human/oceanic interconnections and foster a sense of responsibility and compassion towards the oceans. I identify resonances between the uncanny’s continuing referentiality and the notion that feminist transcorporeality interrelates the subject into networks of materiality which extend across time and space in unknowable ways. Both transcorporeality and the uncanny work against the conceit of the individual through the dissolution of boundaries, and, crucially, both require a suspension of assumptions of the self as whole, discrete and impermeable. To demonstrate this, I read the uncanny waters of contemporary fictions from the Northern Atlantic Littoral (Atlantic Canada and the westernmost parts of the UK). The littoral position of these spaces makes them ideally placed to negotiate the borders between habitable and unhabitable spaces, and the limitations of knowledge that run alongside this. I assert that iterations of uncanny water offer a transoceanic dialogue which shifts constructions of subjectivity away from national and terrestrial boundaries to one more akin to the fluid and relational dialectics of transcorporeality. (shrink)

Self-cultivation—taking pedagogical action to educate oneself—is an integral part of non-formal adult education. Ever since Greek antiquity, it has been a central ingredient in the western philosophical and educational tradition. However, we argue that the global challenges that have emerged in the present era of the ecological crisis call for a new kind of understanding of this basic educational phenomenon. Based in particular on recent work in dark ecology and its central concept of the ‘uncanny’, we outline a few (...) key features of our time in relation to the contemporary challenge of self-cultivation. We then review extant literature on self-cultivation to ascertain whether the theoretical resources that have been used to conceptualise it in the past are capable of addressing these new aspects of self-cultivation. We conclude that each of the theoretical resources analysed here offer valuable insights into the novel challenges facing self-cultivation, though not all important questions can be answered. By specifying the contributions and limitations of these theoretical resources, we pave the way for future work on conceptualising self-cultivation for our times. (shrink)

In _Uncanny Rest_ Alberto Moreiras offers a meditation on intellectual life under the suspension of time and conditions of isolation. Focusing on his personal day-to-day experiences of the “shelter-in-place” period during the first months of the coronavirus pandemic, Moreiras engages with the limits and possibilities of critical thought in the realm of the infrapolitical—the conditions of existence that exceed average understandings of politics and philosophy. In each dated entry he works through the process of formulating a life’s worth of thought (...) and writing while attempting to locate the nature of thought once the coordinates of everyday life have changed. Offering nothing less than a phenomenology of thinking, Moreiras shows how thought happens in and out of a life, at a certain crossroads where memories collide, where conversations with interlocutors both living and dead evolve and thinking during a suspended state becomes provisional and uncertain. (shrink)

Le texte aborde un cas particulier d’atmosphère, l’inquiétante étrangeté, dans son rapport à l’espace architectural, selon une inflexion phénoménologique soulignant la teneur d’atmosphère (Stimmung) du sentiment éprouvé. Effectuant une relecture du texte éponyme de 1919 de Freud sous cet angle, notamment l’épisode de la promenade dans la petite ville italienne, la réflexion s’engage ensuite dans une approche de la peinture de De Chirico, en particulier le tableau de 1913 La grande Tour. Les écrits du théoricien américain de l’architecture Anthony Vidler (...) viennent à l’appui de la réflexion. La conclusion fait retour sur la maison hantée, au regard d’expériences artistiques plus contemporaines. (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)

This article is an attempt to analyse the experience of embodiment in illness. Drawing upon Heidegger' sphenomenology and the suggestion that illness can be understood as unhomelike being-in-the-world, I try to show how the way we live our own bodies in illness is experienced precisely as unhomelike. The body is alien, yet, at the same time, myself. It involves biological processes beyond my control, but these processes still belong to me as lived by me. This a priori otherness of the (...) body presents itself in illness in an uncanny and merciless way. The unhomelike breakdown of our everyday being-in-the-world suffered in illness is explored through Heidegger's notion of the world being a “totality of relevance”, a pattern of meaning played out between different “tools”. The lived body is compared to a broken tool that alters and obstruct sour way of being “thrown” and “projecting” ourselves in the meaning patterns of the world through feelings,thoughts and actions. The similarities and differences between this unhomelikeness of illness and the specific unhomelikeness of authentic understanding,reached according to Heidegger in existential anxiety,are discussed. In order to illustrate how the lived body can present itself as “broken” and “other” to its owner, and in what way this unhomelike experience calls for help from health-care professionals, I make use of a clinical example of a severe and common disease: stroke. (shrink)

Inspired by Said’s concept of exile, Camus’ 1947 novel The Plague, and testimonies from our students, this paper explores the striking similarities between experiences of exile and the COVID-19 pandemic. Both exile and the pandemic are seen as intrusive forces causing rupture and discontinuity in one’s life at the physical, psychological and socio-cultural levels. This paper demonstrates that for many Palestinians – including us and our students – the pandemic manifests what Freud termed ‘repetition compulsion’. That is, many of our (...) students interpret the detrimental and precarious impact of the pandemic as a complex form of exile, a nuanced understanding that blends a historical, communal memory of displacement with a present, universal crisis. This paper further explains that the themes of exile and displacement in Camus’ The Plague provide us and our students with a focal point to examine the striking, albeit anachronistic, similarities between the pandemic caused by Israeli occupation and the COVID-19 virus. This uncanny relationship between the pandemic and exile is further substantiated by the fact that the pandemic has provided cover, or at least distraction, for the escalation of oppressive political actions, thus deepening the entrenchment of a physical and psychological ‘exile’ for Palestinians. (shrink)

An in-depth study of several films and television shows to demonstrate the difficulties of conveying the experience of viewing cinema.

This paper explores a technical unfinished half-method [Halbzeug] of a metaphorology of the technological other in its variations and the philosophical mise-en-scène of the techno-social uncanny. The roboticist Mori had revived the concept of a technological uncanny in human machine interaction in the spatial metaphor derived from a diagram of an uncanny valley in the reaction of a human being shaking an artificial hand in order to show why we feel a certain eeriness in relation to technological (...) artefacts, a topic that gains importance today to reflect human technological automata relations with robots/AI/Avatars that mimic and socially resonate with humans and may even drive further technological transhumanism. Although in an artefact design approach uncanniness is said to be avoided in the human-like automaton-human encounter this paper dwells on the critic of techno-social otherness avoidance by technological overcoming of obstacles and thus argues for a cybernetic uncanny that can’t be avoided. This paper introduces in a broader sense than Mori’s a philosophical dramaturgy of Emmanuel Levinas’ temporal notion of the relation to the other, including a preliminary metaphorological variation of the temporal techno-social uncanny. (shrink)

Human beings express affinity (Shinwa‐kan in Japanese language) in communicating transactive engagements among healthcare providers, patients and healthcare robots. The appearance of healthcare robots and their language capabilities often feature characteristic and appropriate compassionate dialogical functions in human–robot interactions. Elements of healthcare robot configurations comprising its physiognomy and communication properties are founded on the positivist philosophical perspective of being the summation of composite parts, thereby mimicking human persons. This article reviews Mori's theory of the Uncanny Valley and its consequent (...) debates, and examines "Uncanny" relations with generating healthcare robot conversational content with artificial affective communication (AAC) using natural language processing. With healthcare robots provoking influential physical composition and sensory expressions, the relations in human–healthcare robot transactive engagements are argued as supportive of the design and development in natural language processing. This implies that maintaining human–healthcare robot interaction and assessing the eeriness situations explained in the Uncanny Valley theory are crucial positions for healthcare robot functioning as a valuable commodity in health care. As such, physical features, language capabilities and mobility of healthcare robots establish the primacy of the AAC with natural language processing as integral to healthcare robot–human healthcare practice. (shrink)

There is a very fine line separating democracy from terror. Through analysis of the work of the French political philosopher Claude Lefort, I hope to show that there is an uncanny proximity between terror and democracy. In Lefort’s view, political power rests on the contingency and groundlessness that politics has experienced since the French Revolution. Since that time, political power has been separated from the divine and has become a human affair. For Lefort, totalitarianism can come only after the (...) democratic turn because democracy and totalitarianism have the same political foundation in the French Revolution. The openness of democracy is what allows for a totalitarian regime to take power and to terrorize people. But democracy is also able to combat terrorism because, by giving more voice to the excluded and the oppressed, democracy may be able to assimilate them; for if the claim of such people is a lack of autonomy, democracy is the system that should be able to allow them to exercise power. A true war on terror, therefore, would empower people through democracy and not disenfranchise them further. (shrink)

In this essay I explore a possibility of experiential synthesis of the medicalized abnormal body with its aesthetic images. A personal narrative about meeting extreme abnormality serves as an introduction into theorizing aesthetic abnormality. The essay builds its argument on the phenomenological grounds; I therefore approach corporeality with Edmund Husserl and Maurice Merleau-Ponty. In turn, Max Ernst introduces an aesthetic frame for the subsequent examination of uncanny surreality. Two exemplars of the surreal body, Joel Witkins "Satiro" and Don DeLillds (...) "Body Artist," intend to substantiate the preceding theoretic. The study shows how the encounter with the abnormal embodiment may suspend normalized modes of constitution to provoke uncanny experiences. (shrink)

Mirror self-experience is re-casted away from the cognitivist interpretation that has dominated discussions on the issue since the establishment of the mirror mark test. Ideas formulated by Merleau-Ponty on mirror self-experience point to the profoundly unsettling encounter with one’s specular double. These ideas, together with developmental evidence are re-visited to provide a new, psychologically and phenomenologically more valid account of mirror self-experience: an experience associated with deep wariness.

The natural sciences seek to explain all natural phenomena, including human beings. This lofty objective encompasses the scientific project in all its glory, within which brain science constitutes an integral part. Essentially, however, neuroscientists not only seek to achieve a greater understanding of how the human brain works but rather, and perhaps mainly, aspire to understand human consciousness, that is, the subjective experience. According to this approach, consciousness is merely brain activity, and thus any progress in the study of the (...) brain represents an advance in the study of consciousness. Yet, despite the many and impressive neuroscientific achievements, when it comes to understanding human consciousness, this discipline cannot deliver the goods. This ongoing failure, so it will be suggested, arouses uncanny anxiety, largely because consciousness is the only phenomenon in which we have complete confidence. The present article suggests that in order to advance our understanding of the subjective experience, we must focus on how the body is thrown into the world in the here-and-now. (shrink)

Yael Lin's The Intersubjectivity of Time: Levinas and Infinite Responsibility is the first sustained inquiry into Emmanuel Levinas's theory of temporality, a concept which permeates his work and can in many ways serve as a lens through which his entire system can be examined and understood. As the first book length monograph on the subject, Lin's work promises to be of significant value to scholars of Levinas. The book proceeds by tracing what the author sees as the Western roots of (...) Levinas's theory of temporality, namely the works of Martin Heidegger and Henri Bergson, then goes on to explore the various limitations and problems of that philosophical lineage, before showing how Levinas's own theory responds to those limitations and problems by drawing from the Jewish philosophical tradition. (shrink)

In this paper I argue that an encounter with a tick can produce both fear and wonder. I make a distinction between the legitimate danger of tick borne-diseases and the non-danger of our entanglement with the nature revealed by the tick’s bite in order to highlight the goodness of the tick and the possibilities for post-human existences beyond narratives of conquest and control. Ultimately, I argue that wonder is a helpful mechanism for thinking through the goodness of the tick by (...) allowing an ungrounding of our assumptions about climate change, hospitality, and the danger of non-human agencies. (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)

Looking at the often remorseless, inhumane manner in which both the creators and guests approach the robotic hosts, this chapter argues that the integral concept of “humanity” is challenged and transformed in a discussion of Westworld. While the hosts of Westworld are, indeed, robotic, lacking human biological construction, they are made to look increasingly human. In Westworld, evidence of the uncanny valley is seen in the way in which the robot hosts evolve. Taking into consideration the inherent distinctions between (...) the hosts and the guests, the robots of Westworld can be understood as corresponding more accurately to the ideals of humanity and “human excellence” than the humans themselves. In the struggle and constant suffering of robots of Westworld to gain consciousness and regain their memories, the robots achieve a significant, unique aspect of humanity, quite distinct from the apparent humanity of the show's humans. (shrink)

This paper delves into the concept of the uncanny, a theme that has fascinated scholars across multiple disciplines, including psychology, philosophy, literature, and film studies. The study’s primary goal is twofold: to examine the theoretical foundations of the uncanny as explored by Jentsch, Freud, and Heidegger, and to propose a new perspective on the uncanny within the context of modern technological and urban developments. The paper argues that urban, technologically advanced environments foster conditions in which the (...) class='Hi'>uncanny can easily emerge, and suggests that the adoption of a techno-scientific worldview plays a central role in the rise of uncanny experiences. Through an analysis of Hoffmann’s The Sandman, this paper revisits classical theories of the uncanny and connects them with contemporary realities. Jentsch’s emphasis on cognitive uncertainty, Freud’s exploration of repressed traumatic memories, and Heidegger’s focus on the broader atmospheric conditions of the uncanny are all examined. The paper concludes by reflecting on how urbanization, technological dependency, and scientific reductionism contribute to a profound sense of alienation, increasing the likelihood of uncanny experiences in the modern world. (shrink)

In Paradoxes of Delusion, Sass aims to use passages from Wittgenstein to characterize the feeling of “mute particularity” that forms a part of delusional atmosphere. I argue that Wittgenstein’s discussion provides no helpful positive account. But his remarks on more everyday cases of the uncanny and the feeling of unreality might seem to promise a better approach via the expressive use of words in secondary sense. I argue that this also is a false hope but that, interestingly, there can (...) be no interesting or substantial explanation of this failure. (shrink)

The aesthetic transformation becomes a vehicle of recognition and indictment. Herbert Marcuse, 1978, p. 9 In his ‘Reflections on Reclamation through Art’, Thomas Heyd poses the question: Can art ef...

Photography has always been associated with the physical activity of the human body: capturing, editing and viewing photos are all activities that involve the user’s spatial interaction with the technology used. With conventional photography, one aspect of spatial relation with technology is the viewer’s ability to recognize the camera’s location in the photographic scene through visual indications, such as the relative location of objects in the frame to the camera’s point of view, combined with a basic familiarity with the functionality (...) of conventional cameras, relating to the notions of ‘in-front’ and ‘behind’ the camera. Some instances of interactive photography, such as 360-degree imagery and three-dimensional photogrammetry, challenge the spatial connection between the photographer (represented by the camera location) and the viewer due to unique usability and innovative interactions, such as the viewer’s ability to ‘move’ freely in all directions of the three-dimensional, photographic space. The technological affordances of interactive photography create a distinct corporeal experience that challenges the traditional associations between the photographer, the viewer and the photographic imagery, evoking with the viewers the notion of technological uncanniness and, consequently, questioning some of the traditional preconceptions regarding the prime characteristics of the photographic medium. (shrink)

In this essay, I discuss the reports and results of recent official studies of UFOs, and argue they may pose a challenge to contemporary science, religion, and secularity. While the question of UFOs has been well addressed with respect to religion, this essay, which is also a report on current research, highlights the challenge to secularity and some of its constitutive practices. It aims to show how current knowledge on UFOs renders both science and religion uncanny, placing them in (...) a domain where they become irreducibly strange while unshakably familiar, pushing us to (re)consider some of the secular premises of the social sciences (e.g., anthropology) and the humanities (e.g., religious studies), and the possible need for new analytics. (shrink)

Dance and the Corporeal Uncanny takes the philosophy of the body into the field of dance, through the lens of subjectivity and via its critique. It draws on dance and performance as its dedicated field of practice to articulate a philosophy of agency and movement. It is organized around two conceptual paradigms - one phenomenological, the other an interpretation of Nietzschean philosophy, mediated through the work of Deleuze. The book draws on dance studies, cultural critique, ethnography and postcolonial theory, (...) seeking an interdisciplinary audience in philosophy, dance and cultural studies. (shrink)

This article disputes Freud's reading of “The Sandman,” in which he seeks to explain the text's uncanniness primarily with reference to his theory of the castration complex. Rather than abandon Freud altogether, however, I demonstrate how the uncanny effects of Hoffmann's tale are best understood with reference to Freud's concept of “total narcissism.” Specifically, I argue that the ambiguities surrounding this notion are profoundly interwoven with the uncanniness of “The Sandman's” “doubles.” Finally, using these analyses as a foundation, I (...) present my own interpretation of “The Sandman's” subtextual narrative, arguing that the tale effectively dramatizes the self-destructive tendencies of the individual dominated by total narcissism. (shrink)

Stimuli that resemble humans, but are not perfectly human-like, are disliked compared to distinctly human and nonhuman stimuli. Accounts of this “Uncanny Valley” effect often focus on how changes in human resemblance can evoke different emotional responses. We present an alternate account based on the novel hypothesis that the Uncanny Valley is not directly related to ‘human-likeness’ per se, but instead reflects a more general form of stimulus devaluation that occurs when inhibition is triggered to resolve conflict between (...) competing stimulus-related representations. We consider existing support for this inhibitory-devaluation hypothesis and further assess its feasibility through tests of two corresponding predictions that arise from the link between conflict-resolving inhibition and aversive response: 1) that the pronounced disliking of Uncanny-type stimuli will occur for any image that strongly activates multiple competing stimulus representations, even in the absence of any human-likeness, and 2) that the negative peak of an ‘Uncanny Valley’ should occur at the point of greatest stimulus-related conflict and not (in the presence of human-likeness) always closer to the ‘human’ end of a perceptual continuum. We measured affective responses to a set of line drawings representing nonhuman animal-animal morphs, in which each continuum midpoint was a bistable image (Exp. 1), as well as to sets of human-robot and human-animal computer-generated morphs (Exp. 2). Affective trends depicting classic Uncanny Valley functions occurred for all continua, including the nonhuman stimuli. Images at continua midpoints elicited significantly more negative affect than images at endpoints, even when the continua included a human endpoint. This illustrates the feasibility of the inhibitory-devaluation hypothesis and the need for further research into the possibility that the strong dislike of Uncanny-type stimuli reflects the negative affective consequences of cognitive inhibition. (shrink)

Nostalgic, socially privileged ideals of childhood have actively contributed to the formation of Australian national identity, as well as modern subject-formations more broadly. This paper argues that, while such nostalgia has been drawn on for normative ends—in the service of the management of the modern individual—nostalgia also has the power to disrupt our conceptions of the normal. In the context of the contemporary “crisis” of childhood particularly, opportunities to reconstitute ideals of “childhood” and “family” differently have become available to communities (...) such as Aboriginal Australians, who previously have been denied access to these nostalgic forms. (shrink)