This work from the past few years covers a period when interests in merging the programs of Vico and Lacan took aim at film criticism, automata theory, the human use of margins, and interfaces of all kinds.
These Adobe PDF and HTML format files can be downloaded to your computer desktop. Check file sizes to insure that these downloads are appropriate for your internet connection. Institutional networks, cable modems, or DSL work best. All essays are copyright protected; distribution permissions granted by contacting Donald Kunze.
revisiting the uncanny: a model for architectural speculation
A critique of Anthony Vidler's seminal book on the architectural uncanny, and a prospectus on the future of the idea.
architecture and its doubles: the fourth wall, suture, and interpolation in the topography of fear
This essay will appear in a volume on 'Architecture and Violence', edited by Beshir Kenzari and published by Actar Press, Barcelona, anticipated publication in 2007. The essay elevates the original Freudian idea of the uncanny and carries it forward to include a thematic consideration of automata and the psyche as a 'organ without a body'.
concealment, topology and delay in the creation of wondrous drawing
Most projections eventually cease to be projections. This can be as simple a matter as intended or unintended destruction . . . but what about the end of the drawing in the drawing?
chiasmus and the janusian screen
Chiasmus (counterpoint) plays an extensive role in literature, music, the visual arts, and architecture. This paper identifies the role of chiasmus in the popular story of the invention of "artificial memory" by Simonides of Ceos and provides a "prospectus" of potential extension of theory using the rhetorical syllogism, the "enthymeme."
is there a feminine point of view?
The Hitchcock film Rear Window raises the difficult question of the "feminine" point of view. Elise Lemire ("Voyerism and the Postwar Crisis of Masculinity in Rear Window") has argued against Laura Mulvey's famous feminist essay on this film, but the real issue goes beyond any dichotymous division of sexuality (particularly as a visual protocol) along gender lines.
the indicative gesture
Pointing is, as some have said, an "attenuated grasp." This makes framing, pointing, and indication in general a pullback from knowledge-through-touch (stereognosis). Relating this pullback to the neurological phenomenon of proprioception sets up a novel theory of sensus communis. Is "what was lost" restored by sight through such a-visual devices as cinema's "fourth wall" or the phenomenologists' idea of horizon?
the hysterical landscape
This full-length paper connects Deleuze's review of the Ø (phi) phenomenon with Lacan's revised Freudian account of hysteria and Zizek's application of this revision to popular culture. The landscape and architecture depend on ideas of time, in particular the time created through "dynamic sections." Film itself makes the transition between a static and dynamic time section, and Hitchcock is the film. Deleuze's account of Hitchcock's "demarks" (rings, lighters, homicidal birds, windmills turning backwards, etc.) is, in retrospect, the perfect revisionary detail.
time in space
After comments on "hysterical landscape," this brief essay restated the idea of using time as a point of re-organizing theory about architecture and landscape architecture.
This sequential presentation summarizes the structure of Hitchcock's "boom shots" (and equivalent strategies) in using a "demark" (element taken from a natural series) to create a "dynamic time section."
© 2012, Donald Kunze, all rights reserved