The Architectural Uncanny Essay In The Modern Unhomely

The Architectural Uncanny Essay In The Modern Unhomely-83
Therefore, primarily we elucidate the meaning of that notorious concept. There is an ambiguity in the concept of the uncanny, which appears both in the word -linguistically-, and the realization of the sentiment itself.How can we define the “Uncanny”; is it a disturbing weirdness? It belongs to the realm of the frightening, but occupies a somewhat detached space from what seems to be merely fearsome.

Therefore, primarily we elucidate the meaning of that notorious concept. There is an ambiguity in the concept of the uncanny, which appears both in the word -linguistically-, and the realization of the sentiment itself.How can we define the “Uncanny”; is it a disturbing weirdness? It belongs to the realm of the frightening, but occupies a somewhat detached space from what seems to be merely fearsome.

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Jentsch defines the uncanny as “being a product of intellectual uncertainty”.

However, Freud suggests that “Heimlich has a meaning as a word that develops unto an ambivalence until it finally coincides with its exact opposite, unheimlich” [Vidler, 1992].

By elaborating the forms through which the uncanny feeling ap­pears we emphasize on two specific sources to examine the case of The Thieving Hand film.

Firstly, the uncanniness that is prompted by automata and our doubt about “whether a lifeless object might not be in fact animate” – and more precisely, when this doubt only makes itself felt obscurely in one’s consciousness.

Freud’s concern on this issue was about the difference between a person’s relationship to his body and such a prosthesis, which keep tries to be and yet cannot be the self.

For him, consciousness was itself a prosthetic attachment, worn as a kind of “garment” like any other tool.Unable to control the hand, the vendor sells it to a pawn shop, from which the limb crawls back and reattaches itself to his body.When he is ultimately jailed for his unconscious crimes, the limb finds its rightful owner, a thief, and the thieving body becomes whole again.[Smith, Morra, 2006] Uncanniness in Prostheses Nowadays, advances in fabrication technology, reinforce the unconscious doubt about whether, a hand for example, is a prosthetic or a real one.According to Masahiro Mori “when we realize that a hand, that at first site looked real, is in fact artificial, we end up experiencing an eerie sensation.The film involves a one-armed street cobbler helping an upper class, who repays the favor by purchasing him an eerily animate artificial limb.Then, he discovers that the arm and hand are obsessively, frantically pickpocketing passersby without his volition.If, because of its methodical quality, the movement has shown its origin to be in an organic body, the state of things is thus explained, and then a feeling of concern for one’s freedom from personal harm arises instead.[Freud, 1919] Furthermore, for Jentsch the fear of amputation, and even more the fear of eye loss or injury was immense.[Wigley, 1991] Expressionism in Cinematography: Prosthetic Memory and the Uncanny Surrealism of “The Thieving Hand” As a result of the prosthetic’s amputation and displacement from its mortal context, the animate and willing human beings who use prosthetic technology passively disappear into the background, and the prosthetic is seen to have a will and life of its own.Thus we move from techno-fetishism to techno-animism.

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