Uncanny Arts

Brilliant Sculpture

2010-01-29T07:32:00.000-08:00

I found this sculpture on Make. The idea that it is always trying to sell itself, and that no buyer will ever know how long they will have it, strikes me as genius.

http://blog.makezine.com/archive/2010/01/caleb_larsens_a_tool_to_deceive_and.html

Bittersweet Animation Test

2010-01-28T13:32:00.000-08:00

This is a short animation test for my friend Asuka's project, which I am working on as a modeller. It is intended to show roughly what a 3d character model with flat 3d eyes looks like as it moves. This is not a final model, just a rough and ready test piece. The textures are simple toon shaders.

Asuka, let me know what you think :)

Goals and Projects

2010-01-23T10:24:00.001-08:00

At present I am at a crossroads regarding my work this year, which will influence my future greatly. My accident and illness at the start of the year delayed the process of refining my P.O.S. and indeed my progress on my studies for the year. However, I have now arrived at the crossroads, and two paths lay before me.

I have the choice of embarking upon the creation of an animated project, or instead exploring a far more personal route in my studies and artwork.

To begin, I would like to point out my personal goals for the year. These goals will not change.

Form an identity for myself as an artist.
Develop my skills in both 3D and 2D graphics.
Further my knowledge of my major topic of interest – The Uncanny

These goals are very important to me, both professionally and personally. I need to have established an identity for myself as an artist before I leave the University. I have for years dabbled in lots of different things, and a lot of different styles. I have been a jack of all trades, and my work often goes unnoticed amongst the crowd. I need to stand out.

For employment, my skills as an artist must be at the highest level they have ever been. Even then, I strive to improve with everything I make. In order to ensure I am at the top of my game, I need to train my skills hard this year. Daily practice and studying of techniques and anatomy will keep me sharp.

The Uncanny, for some inexplicable reason, has been a guiding force in my interests for my whole life. It was only when I started my research on this course that I realised quite how much of an impact it has had on me. I feel that the Uncanny will continue to be a massive influence upon me, and that by studying it in as much depth as I can it will become the shining light that drives my creative practices in future.

Regarding my studies and projects this year, I have assembled the following list of potentials. I need to speak to my Tutor about these projects at my next meeting in order to smooth out the details and structure my P.O.S. My studies will go one of two ways; either I will complete Project A, or I will complete Projects B & C. Project D has potential to be combined on either study path, but I need to work out if it will be possible or applicable to the course first.

Project A: Animated Short

Create an animated short which explores some of the Freudian tropes of the Uncanny.
Research Freudian Uncanny tropes in Cinema and Animation.
Research how film makers have explored these themes.
Explore how I can use these themes in an animation, and as a theme of an animation.

Pros:

Leave University with a finished animated short.
Leave University with a portfolio of assets used in the creation of the short.

Cons:

Would rely heavily upon the work and organization of others for vital assets such as sound and music, and also for editing, etc. Requires a lot of attention and distraction from research.
Very time consuming, would leave no time available for any other projects or research.
Does not allow me to explore my identity as an artist in any great depth.

Project B: Artistic Creations exploring the Uncanny

Explore the themes of the Uncanny through a variety of small artistic projects using computer graphics skills in 2D and 3D.
Research how the Uncanny is used and explored thematically by artists.
Research upon how the Uncanny is used and explored thematically by film makers.

Pros:

Allows me to personally explore the Uncanny as a device for my own expression.
Allows greatly for development of artistic skills, especially regarding digital sculpting and texturing, and traditional 2D skills.
Allows me to explore my identity as an artist, and put together works for thematic exhibition.

Cons:

Working in a void, not a collaborative venture.
Could be tricky fitting in narrative elements to some of the projects.
Won't allow for a lot of animation for my portfolio.

Project C: Uncanny Influences

Explore how Uncanny devices and Surrealist techniques can be used to influence my work from the blank page onwards.
Research Surrealist techniques and how the Uncanny can be used as a tool for idea generation.
Experiment with these techniques and reflect on the findings.

Pros:

Allows me to develop a personal work flow to avoid bouts of “artists block”.
Allows me to find other ways of interpreting the Uncanny themes that I might otherwise miss.
Can feed into the other projects.

Cons:

Potential for a lot of the creations based on the methods not bearing fruit.
Unsure of the best way to write about it.

Project D: The Uncanny and Me

Reflect upon how the Uncanny influences me as an artist, and how it interests me in life and entertainment.

Pros:

Can tie in nicely with the other projects, especially B and C.
Fairly small project.

Cons:

Highly personal, and entirely subjective.
Not a lot of room for academic referencing etc.
Unsure of how to fit it into my dissertation.
No artwork generation.

Portrait Sculpture Update

2010-01-22T11:45:00.000-08:00

Some further progress

Uncanny Tshirt?

2010-01-21T16:18:00.000-08:00

Using the techniques I am experimenting with regarding creating inspiration through pareidolia, I have created my first ever t-shirt design. Please check it out and rate it, if I get enough attention to it it might get picked to be made. If it wins, I get paid :)

Portrait Sculpture

2010-01-20T18:33:00.000-08:00

Some progress shots from a sculpt I am currently working on. The sculpt is based in its beginnings on the 3d scan data of my face, which has then been subtly edited in its proportions before being used as a starting point for the sculpt. As this is an experimental sculpture, I have not had a specific goal in mind from the outset. Instead, I am utilizing the tools available to me in order to work freely without the real world constraints of material costs, space, or drying out time. I am also using this experimental sculpt as an opportunity to get to grips with the recent upgrades to the ZBrush tool-set that came with 3.5 R3.

Project BARK

2010-01-20T18:20:00.000-08:00

Progress on the main character model for an uncanny animated short about a little wooden man who buries himself. About to start polypainting the colour and specular maps, and generating AO, normal and displacement maps. I still need to work out how to make the moss and other superficial details, wether to sculpt them or use Maya's hair and fur tools.

A progress shot from the UV layout stage.

Uncanny Valley Material Test

2010-01-19T05:54:00.000-08:00

I received a 3D scan of my face today, generously donated by fellow student Victoria Blake. In order to help her with her studies, I have put together a list of images of my face with different materials attached. Hopefully, this will help her to decide which route to go on to avoid the Uncanny Valley in her experiment (which involves people assessing virtual heads). Thanks to Victoria, I now have a fantastic asset to experiment with, hopefully helping me dive head first (no pun intended) into the Uncanny Valley.

All the materials used are freely available for ZBrush, and can be found here: MatCap Library

Or shipped with ZBrush itself.

I added simple noise to each material for the right hand render in order to view the difference between smooth surface and a non-human surface texture. These textures only work in ZBrush, however will give a good indication of potential materials that can be made for rendering the heads in.

As I spend so much time working with computer graphics, the judgement of uncanniness on this level of texture work is a bit tricky for me. However, I would recommend working with a more clay, stone, or silicon type of material rather than a waxy, fleshy one. This should help avoid the uncanniness of the scanned faces a bit.

Change of Blog Address

2010-01-19T05:18:00.000-08:00

Made a quick change of the address of my Blog, as Google searching the old one brought up some seedy sites.

PoS Presentation

2009-12-08T10:32:00.000-08:00

Today I presented my work to the faculty. I received feedback that my study proposal was too vast in scope and that I should cut it down. Having thought about it, I will write up new draft versions to take with me to my Tutorial on Monday morning. Each will be a possible route that I can go down, still looking into the same topics. However, they will be more concise in order to explore with more depth the topics, and also more focused in order to ensure their relevance to the Msc.

Version A:

Version A will cut out a large chunk of the research, focusing in on the use of the Uncanny as an artistic tool, and upon the expression of the Freudian Uncanny tropes in art.

Cutting narrative from the study will enable me to explore my creative work-flow as an artist, and to push back the boundaries of what I can create as an artist working in digital (2D and 3D) artwork.

This should also cut down upon the area of research in order to delve deeper into the possibilities. I will need to look at the Uncanny Tropes, the Uncanny Valley, Uncanny Art, and the Uncanny as a method of creation.

Technically, I will focus upon my skills as a digital sculptor and texture artist. I also intend to enhance my skill-set by learning tools such as Maya PaintFX. In this way I will enhance the skills I already have in order to function as a specialist modeller. Limiting my focus in this way may also allow me time to collaborate on others' projects.

Version B to follow...

Rough Presentation Notes

2009-11-16T12:40:00.000-08:00

The following is my rough presentation notes for my presentation tomorrow. As I was putting the presentation slides together I realized that the information I needed was in my head, and to write out too detailed a script would likely hinder me come presentation time. The slides will prompt me well enough to stay on topic, and these rough notes will refresh my memory before I begin.

The notes:

Introduction

What is the uncanny?

For this study, I will be looking at the uncanny in narrative, and how artists and filmmakers have explored uncanny themes visually.

I will be looking at the following uncanny tropes:

1.Inanimate objects mistaken as animate (dolls, waxworks, automata, severed limbs, etc.)
2.Animate objects behaving as if inanimate or mechanical (trances, epileptic fits, etc.)
3.Being blinded
4.The double (twins, doppelgangers, etc.)
5.Coincidences or repetitions
6.Being buried alive
7.Some all-controlling evil genius
8.Confusions between reality and imagination (waking dreams, etc.)
9.Cannibalism

I will not be looking into such uncanny aspects as deconstruction, teaching, the nature of language and its relationship to the self or a deep analysis of the Uncanny valley. Where relevant these topics will be touched upon briefly, but they are too vast to be approached with depth in this study.

I will not be looking at this topic to create new insight in the areas of psychology, psychoanalysis, robotics, computer graphics (I.e. the avoidance of the uncanny valley), or literature analysis.

Instead, my approach is from the perspective of the creative looking to create narrative works in the realm of the uncanny. To this end my research will focus on the analysis of the subject matter, and analysis of the works of other creatives in the field. I will also be conducting some practice led research through analysis of my own creations in order to improve the work I create as much as possible, and to explore the uncanny tropes of narrative in as much detail as I can.

My productive work this year will encompass a collection of thematic narrative and artistic experiments, alongside an uncanny narrative picture book. This picture book will consist of an uncanny narrative told through limited words, and through picture as much as possible in order to open it up to an international audience. All the images in this book will be full 3d graphic renders.

My intent with this picture book is to get it published after I have finished university, and to use it to attain funding to turn it into a full 3d animated short, as all the assets will be fully prepared for a team to set up and animate.

Ron Mueck

2009-11-15T12:05:00.000-08:00

Chris Rowland mentioned the artist Ron Mueck to me in a meeting this week. I had never heard of him before, and was totally blown away by his work. Hyper-realistic sculptures with altered senses of scale have a truly uncanny impact upon the viewer. On the hyper-realistic level alone they are uncanny, but when the scale is thrown in to the mix the uncanniness takes on a whole new level, as it looks like reality has indeed been warped. For example the tiny old ladies, or the 20-odd foot long newborn baby are both entirely compelling and repulsive, remarkable works of art. To look at photographs of these sculptures it does look like Photoshop trickery, but it is all real. This is very inspiring to me, as it has made me wonder just how far I can push my artwork by mixing hyper-realistic surreal digital sculpture with photography or film. I also wonder what the impact would be if I were to have my digital sculptures created as real life works and placed into the same or similar environments.

Link to some Mueck examples:

http://www.gautierdeblonde.com/portfolio.lasso?categoryID=4

Chainsaw Maid

2009-11-15T10:23:00.000-08:00

I found this animation by Takena Nagao whilst looking for Ron Mueck pics. It is interesting that he has chosen an uncanny medium (claymation) to express an uncanny narrative (the living dead, cannibalism). I wonder if this was a conscious choice, or if the creator had any interest in the topic of the uncanny when he made this?

It is very over the top, and full of clay gore, but manages to tell the tale without resorting to use of language other than some text on a newspaper. The rest is sound effects with the occasional subtitle. The piece could have been improved slightly by not having legible words on the newspaper, replaced possibly with a picture of a zombie and some illegible hieroglyphs. This would allow it to have total global accessibility, as any country could easily have the subtitles replaced for the native tongue.

This is the kind of consideration I must make when making my projects, in order that they can be made globally accessible as easily as possible, as their topics should have global appeal if I can design them properly.

Takena Nagao's youtube page can be found here, containing more violent and twisted claymations:

As with every other external source linked to, quoted or shown on this website, it is intended under Fair Use for non-commercial educational purposes only. If possible, links to the original works will be provided and their creators credited in full. Any images, video or text that the copyright holders ask to be removed will be taken down immediately.

Death Drive sculpture WIP

2009-11-11T12:57:00.000-08:00

Here is a selection of turntables of a current WIP sculpture exploring some of the fundamental aspects of the Uncanny; the death drive, repetition, and cannibalism. The materials are Zbrush matcaps, which have lighting baked into them, and the turntables are exported directly from Zbrush. I cannot use these materials in Maya, but these tests let me quickly look at potential solutions to my lighting and material problems.

Programme of Study Draft 002 28 Oct 2009

2009-10-28T14:14:00.000-07:00

Study Title:

Rationale:

The Uncanny is a fundamental part of narrative storytelling. It was first discussed by psychologists in the early 1900s (see Jentsch 1906 and Freud 1919), although it has been a part of our culture and our storytelling for far longer (Royle 2003). The early work of Freud and Jentsch was limited by their own beliefs and knowledge of the topic (Royle 2003) but provided a spectacular starting point for discussion of the topic.

The Uncanny itself proves tricky to tie down. It has been referred to as the return of the repressed (Freud 1919), and the illumination of things that were once, and should have remained, hidden. It causes a range of feelings in different people, ranging from a mild unease to sheer morbid terror, and on to the experience of madness. Sometimes, the Uncanny has a positive, instead of detrimental effect. The Uncanny is the blurring of the lines between internal and external reality, dreams and the waking mind, the conscious self and the unconscious self. The Uncanny is uncertainty. It is a field ripe for exploration.

A lot of the work published on the Uncanny is psychoanalytic, or theory based upon the analysis of works created by authors or film makers. This Study seeks to explore not only the Uncanny as it is found in the works of film makers such as David Lynch and Satoshi Kon, and the nature of the Uncanny as debated by psycologists and scholars of literature. This Study seeks to explore how a creative can set about developing Uncanny projects.

Aims:

To explore the Uncanny in narrative and Uncanny narrative tropes.
To examine visual interpretations of the uncanny narrative.
To explore how both of the aforementioned topics influence my work as an artist.

Objectives:

Research the Uncanny (das Unheimlich) both as a psychological phenomena and as a cinematic device (narrative and audiovisual).
Reflect upon how the aforementioned research and reflection impacts upon my work as an artist and storyteller.

Methodology:

Text led research
Film studies
Creation of work
1. 3D Picture Book
2. Exploratory Sketchbooks / Design Bible

Expected Outcomes:

Masters Report
1. The Report will examine the uncanny in narrative, and how uncanny narrative is represented in visual narratives.
3D Picture Book
1. The 3D Picture book will represent an uncanny narrative visually.
Exploratory Sketchbooks / Design Bible
1. These Sketchbooks / Design Bible will be a practice based exploration of the subjects of the research. They will allow for a more personal examination and reflection of the topics and how they relate to the artist.

Schedule:

Reference Materials:

Literature
- On the Psychology of the Uncanny – Ernst Jentsch 1906
  - http://www.cpmg.org.br/artigos/on_the_psychology_of_the_uncanny.pdf
- The Uncanny – Sigmund Freud (1^st Published 1919 in Imago 5 (5-6)
- Screen Memories (Über Deckerinnerungen) – Sigmund Freud (1^st Published 1899 in Minatsschrift für Psychiatrie und Neurologie 6)
- The Creative Writer and Daydreaming (Der Dichter und das Phantasieren) – Sigmund Freud (1^st Published 1908 in Neue Revue 1(10))
  - The Uncanny – Sigmund Freud (Translation published 2003)
  - Translation & Editorial matter Copyright – David McLintoch 2003
  - Introduction Copyright – Hugh Haughton 2003
  - Penguin Classics
  - Penguin Books Ltd, London England
  - ISBN: 978-0-14-118237-7
- The Interpretation of Dreams – Sigmund Freud (1^st Published 1900)
  - This edition published 1997
  - Wordsworth Editions Limited 1997
  - Introduction Copyright – Stephen Wilson 1997
  - Text from 3^rd Edition (1932) Translation by A.A. Brill, authorised from 1^st Edition German (1900)
  - ISBN: 978-1-85326-484-9
- The Uncanny – Nicholas Royle 2003
  - Manchester University Press, England
  - ISBN: 978-0-7190-5561-4
- The Terror that Comes in the Night; An Experience-Centered Study of Supernatural Assault Traditions – David J. Hufford 1982
  - University of Pennsylvania Press, USA
  - ISBN: 0-8122-1305-X
- Lynch on Lynch – Edited by Chris Rodley 1999 (1^st Published 1997)
  - Faber and Faber Limited, England
  - ISBN: 0-571-19548-2
- Dreams on Film; the Cinematic Struggle Between Art and Science – Leslie Halpern 2003

Journal:

Plans Change - 20 Oct 2009

2009-10-20T09:46:00.000-07:00

I have been doing a lot of thinking over the past few days about where my work is going this year. I am still looking into the uncanny in narrative, but there are very big changes coming this way over the next few days....

13 October 2009 - Reflection

2009-10-13T13:46:00.000-07:00

On reflection the original PoS seems far too vast for the amount of time available this year. So I intend to cut out a large chunk of it and focus entirely upon the Uncanny in narrative and as a cinematic device.

My main goal for personal learning this year is to develop my skills as an emotive storyteller. My previous dissertation (which can be found from the link on the right) focused on Horror Cinema, and highlights some of my interests with regard to cinematic storytelling and audience experience. Over the past month, leading up to last week's submission, I had looked further into my areas of interest and found that the Uncanny in narrative, and as a cinematic device, is definitely what I want to look into. However, the draft I submitted is definitely too broad in scope.

When I have my first meeting with my advisor I intend to have worked out a new refined draft to use as a discussion point in order to determine my path as quickly as possible. I intend to touch upon some of the subjects being cut from the PoS in the course of my research, although only to the extent that they encroach upon the areas of my main research.

Backdated Post - PoS Draft 001 - Thursday 08 October 2009

2009-10-13T12:36:00.000-07:00

The following is my first draft of the Programme of Study, prepared and submitted on the 8th October.

Study Title:

Visions of the Repressed; Creating the Uncanny (WORKING TITLE DRAFT 001)

Rationale:

The Uncanny is a fundamental part of storytelling. It was first discussed by psychologists in the early 1900s (see Jentsch 1906 and Freud 1919), although it has been a part of our culture and our storytelling for far longer (Royle 2003). The early work of Freud and Jentsch was limited by their own beliefs and knowledge of the topic (Royle 2003) but provided a spectacular starting point for discussion of the topic.
The Uncanny itself proves tricky to tie down. It has been referred to as the return of the repressed (Freud 1919), and the illumination of things that were once, and should have remained, hidden. It causes a range of feelings in different people, ranging from a mild unease to sheer morbid terror, and on to the experience of madness. The Uncanny is the blurring of the lines between internal and external reality, dreams and the waking mind, the conscious self and the unconscious self. It is a field ripe for exploration.
A lot of the work published on the Uncanny is psychoanalytic, or theory based upon the analysis of works created by authors or film makers. This Study seeks to explore not only the Uncanny as it is found in the works of film makers such as David Lynch and Satoshi Kon, and the nature of the Uncanny as debated by psycologists and scholars of literature. This Study seeks to explore how a creative can set about developing Uncanny projects.

Aims:
To research the nature of the Uncanny (das Unheimlich), and its relevance to storytelling and cinema.
To investigate the relationship between reality and dreaming (or the blurring of the boundary between reality and fantasy), and their portrayal in cinema and the arts.
To explore how both of the aforementioned topics influence my work as an artist.
Objectives:
Research the Uncanny (das Unheimlich) both as a psychological phenomena and as a cinematic device (narrative and audiovisual).
Research dreaming and fantasy both from a psychological and folkloric perspective, and how they are used as a cinematic device (narrative and audiovisual).
Reflect upon how dreaming, fantasy and the Uncanny coexist and interweave in storytelling and cinema.
Reflect upon how the aforementioned research and reflection impacts upon my work as an artist and storyteller.

Research Methodologies:
Text led research
Film studies
Creation of work
Animated short inspired by research themes
Exploratory Sketchbooks / Journals
Thematic Artworks

Expected Outcomes:
Masters Report
The report will examine how the Uncanny, Dreams, and Fantasy relate to narrative and cinema. It will also examine how elements of these subjects can be used thematically as well as utilized as a cinematographic device through narrative and audiovisual metaphor and control. Finally, the report will discuss how these elements guide my work as an artist and storyteller.
Animated Short
The animated short will utilize the subjects of the research in order to explore thematically the devices aforementioned through narrative use and also cinematographic expression.
Exploratory Sketchbooks / Journals
These Sketchbooks / Journals will be a practice based exploration of the subjects of the research. They will allow for a more personal examination and reflection of the topics and how they relate to the artist.
Thematic Artworks
Thematic Artwork will be a further exploration of the nature of the Uncanny, Dreaming, and Fantasy.

Schedule:
The working schedule still needs to be sorted out. It will be determined by exactly what projects I end up doing. For the moment though, I can say the following:
Research and Development on the Masters Report will be ongoing. At least two hours a day (whilst travelling) are dedicated entirely to reading work to best utilize my time.
The Exploratory Sketchbooks / Journals will be ongoing throughout the year. Work from these will filter into the other projects.
The Thematic Artworks will be in development throughout the year, starting out in the sketchbooks and journals. Full production should be completed by the end of Semester 2.
The animated short will be in preproduction throughout semester 1 and 2, and will be in full production in semester 3 at the latest.

Reference Materials:
Literature
On the Psychology of the Uncanny – Ernst Jentsch 1906
http://www.cpmg.org.br/artigos/on_the_psychology_of_the_uncanny.pdf
The Uncanny – Sigmund Freud (1^st Published 1919 in Imago 5 (5-6)
Screen Memories (Über Deckerinnerungen) – Sigmund Freud (1^st Published 1899 in Minatsschrift für Psychiatrie und Neurologie 6)
The Creative Writer and Daydreaming (Der Dichter und das Phantasieren) – Sigmund Freud (1^stPublished 1908 in Neue Revue 1(10))
The Uncanny – Sigmund Freud (Translation published 2003)
Translation & Editorial matter Copyright – David McLintoch 2003
Introduction Copyright – Hugh Haughton 2003
Penguin Classics
Penguin Books Ltd, London England
ISBN: 978-0-14-118237-7
The Interpretation of Dreams – Sigmund Freud (1^st Published 1900)
This edition published 1997
Wordsworth Editions Limited 1997
Introduction Copyright – Stephen Wilson 1997
Text from 3^rd Edition (1932) Translation by A.A. Brill, authorised from 1^st Edition German (1900)
ISBN: 978-1-85326-484-9
The Uncanny – Nicholas Royle 2003
Manchester University Press, England
ISBN: 978-0-7190-5561-4
The Terror that Comes in the Night; An Experience-Centered Study of Supernatural Assault Traditions – David J. Hufford 1982
University of Pennsylvania Press, USA
ISBN: 0-8122-1305-X
Lynch on Lynch – Edited by Chris Rodley 1999 (1^st Published 1997)
Faber and Faber Limited, England
ISBN: 0-571-19548-2
Film
David Lynch
Twin Peaks
Eraserhead
Elephant Man
Mulholland Drive
Blue Velvet
Inland Empire
David Cronenberg
Dead Ringers
Stanley Kubrick
Eyes Wide Shut
The Shining
Jan Svankmejer
The Complete Shorts
Satoshi Kon
Perfect Blue
Alex Proyas
Dark City

Welcome to my digital playground!

2009-10-13T11:40:00.000-07:00

Hello all,

This blog will document my overall progress on the Msc Media Arts & Imaging; 3D Computer Animation at DoJ Dundee. A secondary blog will be set up soon for my project specific progress on my animated short.