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  • The Uncanny Residues of Invention and Alchemy: an investigation into Inventive and Alchemical approaches to Contemporary Sculpture, in the context of early 21st century Technologies.
    (2014) Arnot, Tully
    Thesis
    The Uncanny Residues of Invention and Alchemy proposes the concepts of Nontelic Invention and Perceptual Alchemy within contemporary sculptural practice (1980~present), analysing a number of methods used in the creation of these artworks. These methods include the use of Chance and Contingency Failure, Futility, and Entropy Cycles and Repetition Appropriation, Reinterpretation and Hacking Removal of Function, Vernacular/Pop References and the Everyday, and Anthropomorphism It frames this practice within sculptural history/theory, as well as in relation to home- made or eccentric invention, herein called Vernacular Invention, and with philosophical influence from Freud’s Uncanny - which I’ve developed towards a more subtle and quotidian concept of Uncanny Residues. Further, through the theories of Marshall McLuhan, Sherry Turkle and Nicholas Carr, it positions this practice within a brief historical and ethnographic analysis of our relationships with tools or objects - from the stone age to contemporary online technologies, via language, printing and the written word. Drawing on Carr’s theory of the Intellectual Ethic, I propose the Uncanny Residue as the Intellectual Ethic of Visual Art that deals with the everyday. By positioning these artworks within a contemporary ‘everyday’ context, namely alongside current and proposed consumer level technological innovations, the Uncanny Residue of these artworks will allow important personal insight into how we engage with objects, technology and each other.