Essay on the uncanny

The Middle Managers of Murder Introduction Bureaucracy is not unique to Germany, however its application by the National Socialists as a tool of totalitarian oppression is peerless.

Essay on the uncanny

In quantum physics one meter is also one meter, but the elimination of distance, or the approximation or acceptance of something, changes that object or at least contains a wider spectrum of interpretative possibilities, so that the comparative of focused concretization is a well facetted ambiguity in the sense of quantum physics.

Nigel Van Wieck's works function in a similar manner. On first glance we seem to see just what we see. The realistic pictures reveal for us a view of people on a beach, or at work, or involved in recreational activities, or in their domestic surroundings, or in public places.

However, as we approach them they lose their unequivocal nature and one begins to ask oneself what is it that we see, or much more if this is everything we see?

The fact that the artist is actually English is not apparent, in the least not in his works. They recall too much the works of American Realist artists, Essay on the uncanny whom he came in contact with after moving to America. But even stronger was his fascination with the work of Edward Hopper, whose art he thought was exemplary and in whom he perceived a kindred spirit.

Uncanny - Essay

The comparison between the oeuvre of Hopper and Van Wieck has understandably often been drawn. In fact there are numerous parallels between Hopper's often isolated and introverted figures who are caught in an urban tristesse and the equally singular figures in Van Wieck's work.

Moreover, the artists are united in their frequent depiction of empty places, in their clear compositional structure and in a fascination with sharp light and shadow effects. But Van Wieck's pictures seem more optimistic, his protagonists are, in spite of their isolation, less melancholy than Hopper's protagonists.

Although figures such as the young woman who looks dreamily out to sea in Van Wieck's Here Comes Tomorrow are characterized by a strange melancholy, her momentary loneliness is voluntary and not ordained by society, nor indeed caused by herself. Characteristically, the figures in his works do not seem to be so inextricably caught up in their situation as in Hopper's, but are merely caught at a specific moment in time.

Thus, the central objective of his art is not to dissect American society, but to create subtle snapshots of the "American way of Life", whose sense of distance and lack of movement make them seem all the more penetrating.

What is exciting about the pictures is the indefiniteness of the narrative context, the puzzle as to what came before and after each painted moment. This lack of articulation in the holding up of time gives the works a cinematographic quality and makes their nearness to cinema more than clear.

In this respect Sunday Evening is one of the most exciting pictures, as it draws our attention above all because of its viewer's perspective: While we observe a boy in the former who is about to climb the wall of a cemetery in bright sunlight, in the latter there is a night scene illuminated by a street lamp where a women with a dog on a leash enters the beam of light.

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As if we were located in one of the surrounding houses, we gaze down at the street scene and become secret observers of the event.

But it is not as if we actually saw something we were not supposed to see - this is not a voyeuristic view of something forbidden, disreputable or perverse.

On the contrary, it is ordinariness that we gaze on as viewers in Van Wieck's works: This stems on the one hand from a lack of narrative attributes already noted, which allows space for interpretation, and on the other from the formal compositional design.

With the help of interesting angles of view, their seemingly spontaneous selection and the overlapping of motifs - all of which are reminiscent of the French Impressionists - the artist introduces his subjects into the scene.

As a result, what are in part central motifs are pushed aside, whilst other seemingly less significant objects are given a - in the literal sense of the word - dominant presence.

In Catch the day the probably in reality rather prosaic architecture becomes a massive, monumental architectural object that launches itself with its wooden planks into the picture like a ship's bow.

The strolling couple to the left of the picture - actually the picture's main subject - serves almost entirely only to make the dimensions clear, like a dimensional study, whereby the bright red dress of the woman also introduces a coloristic accent. It is in a work like this that the artist's coloristic virtuosity becomes apparent, which he employs with a multitude of iridescent color nuances to conjure up a sunny sky, bright sunlit strands or cool architecture before our eyes.

Nigel Van Wieck, who was born in the Unitied Kingdom in Bexley, Kent, in and received his training at the Hornsey College of Art in London, which alongside the Royal Academy of Arts is one of the most reputable institutes of art in the English capital and which served as a spring board for numerous other successful artists such as Richard Wentworth or Anish Kapoor.

After initial artistic works, which were in the area of figurative art, the artist soon turned to the Kinetic Art.

Essay on the uncanny

Eventually, enlarging the mechanical movement by an aspect, he began to experiment with light, particularly neon light, which he exploited as an artistic medium. Turning from light art in the sense of light as an artistic medium meant, however, by no means a turning away from his intensive study of this phenomenon of light.The concept of the uncanny was perhaps first fixed by Sigmund Freud in his essay Das Unheimliche, which explores the eerieness of dolls and waxworks.

For Freud, the uncanny locates the strangeness in the ordinary. Subject: Image Created Date: 9/17/ PM. Gathers 20 of Smith's new and classic essays into one volume for the first time. Combining his most important pieces over the last 15 years along with two completely new essays, 'On the Becoming of Concepts' and 'The Idea of the Open', this volume is Smith's definitive treatise on Deleuze.

In aesthetics, the uncanny valley is a hypothesized relationship between the degree of an object's resemblance to a human being and the emotional response to such an object. The concept of the uncanny valley suggests humanoid objects which appear almost, but not exactly, like real human beings elicit uncanny, or strangely familiar, feelings of eeriness and revulsion in observers.

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