Digital Uncanny
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Product details:
- Publisher OUP USA
- Date of Publication 21 February 2019
- ISBN 9780190854003
- Binding Paperback
- No. of pages232 pages
- Size 155x231x17 mm
- Weight 431 g
- Language English
- Illustrations 29 photographs 0
Categories
Short description:
Through a close reading of interactive and experimental art works, this book explores how the digital uncanny unsettles concepts of "self," "affect," "feedback," and "aesthetic experience," forcing us to reflect on our relationship with computational media and by extension our relationship to each other and our experience of the world.
MoreLong description:
We are now confronted with a new type of uncanny experience, an uncanny evoked by parallel processing, aggregate data, and cloud-computing. The digital uncanny does not erase the uncanny feeling we experience as deja vu or when confronted with robots that are too lifelike. Today's uncanny refers to how non-human devices (surveillance technologies, algorithms, feedback, and data flows) anticipate human gestures, emotions, actions, and interactions, thus intimating that we are but machines and that our behavior is predicable precisely because we are machinic. It adds another dimension to those feelings in which we question whether our responses are subjective or automated - automated as in reducing one's subjectivity to patterns of data and using those patterns to present objects or ideas that would then elicit one's genuinely subjective-yet effectively preset-response. In fact, this anticipation of our responses is a feedback loop that we humans have produced by designing software that can study our traces, inputs, and moves. In this sense one could say that the digital uncanny is a trick we play on ourselves, a trick that we would not be able to play had we not developed sophisticated digital technologies. Digital Uncanny explores how digital technologies, particularly software systems working through massive amounts of data, are transforming the meaning of the uncanny that Freud tied to a return of repressed memories, desires, and experiences to their anticipation. Through a close reading of interactive and experimental art works of Rafael Lozano-Hemmer, Bill Viola, Simon Biggs, Sue Hawksley, and Garth Paine, this book is designed to explore how the digital uncanny unsettles and estranges concepts of "self," "affect," "feedback" and "aesthetic experience," forcing us to reflect on our relationship with computational media and by extension our relationship to each other and our experience of the world.
In this consequential contribution to debates on the posthuman condition, Ravetto-Biagioli presents new and originals perspectives on both contemporary critical theory and recent interactive art to investigate a new body of affects, the computational uncanny, wherein the distinction between machinic and human thought processes are becoming undecidable.
Table of Contents:
Introduction
Chapter 1: Self-Uncanny
Chapter 2: Uncanny Affect
Chapter 3: Uncanny Feedback
Epilogue: Uncanny Aesthetics
Bibliography
Index
