“we must suppose that American animals… slowly migrated by successive generations from the outer world into the deeper and deeper recesses of the Kentucky caves.” Charles Darwin
Making Sense of “The Weird and the Eerie” By Roger Luckhurst
(…) “You have probably heard of “the weird” by now, but you may not quite know what it is, or why so many genre critics, cultural theorists, and philosophers are keen to engage with it. It might once have been quarantined as a subgenre associated with sullen Goths and all those arrested-adolescent readers of H. P. Lovecraft, but it has long slithered free of those confines, and now leaves a trail not just straight across the internet, but on the page and in mainstream TV shows and movie screens.
Fisher’s guide to this terrain is an excellent place to start your orientation. The book displays his signature knack for reading popular culture (principally music, fiction, and film) in an expressive, demotic way that is still vigorously political and philosophical. Somehow, Fisher magically renders post-Lacanian, post-ŽižekianMarxism and the radical anti-subjectivist philosophy of Gilles Deleuze entirely accessible. Only Fisher can enthuse about old QuatermassTV shows in terms of their “cosmic Spinozism” and still (mostly) make sense. With typical disdain for cultural boundaries, Fisher moves crab-wise from Lovecraft and H. G. Wells to the impenetrable mumblings of punk band The Fall; obscure Rainer Werner Fassbinder TV shows from Germany; Lynch, Stanley Kubrick, and Andrei Tarkovsky films; NigelKneale TV series from the 1970s; the music of Joy Division; The Shining; the unclassifiable fiction of Alan Garner and Christopher Priest; Jonathan Glazer’s extraordinary avant-garde SF film Under the Skin; and surprising appearances of Margaret Atwood’s early fiction Surfacingand Christopher Nolan’s portentous quantum SF blockbuster Interstellar(which receives a great defense).” (read morehere)
(…) “In music, literature, art, film and photography, as well as in new and hybrid forms and media, the English eerie is on the rise. A loose but substantial body of work is emerging that explores the English landscape in terms of its anomalies rather than its continuities, that is sceptical of comfortable notions of “dwelling” and “belonging”, and of the packagings of the past as “heritage”, and that locates itself within a spectred rather than a sceptred isle.
Such concerns are not new, but there is a distinctive intensity and variety to their contemporary address. This eerie counter-culture – this occulture – is drawing in experimental film-makers, folk singers, folklorists, academics, avant-garde antiquaries, landscape historians, utopians, collectives, mainstreamers and Arch-Droods alike, in a magnificent mash-up of hauntology, geological sentience and political activism. The hedgerows, fields, ruins, hills and saltings of England have been set seething.”
“What are those pressing concerns, though, and what are the sources of this unsettlement? Clearly, the recent rise of the eerie coincides with a phase of severe environmental damage. In England, this has not taken the form of sudden catastrophe, but rather a slow grinding away of species and of subtlety. The result, as James Riley notes, is “a landscape constituted more actively by what is missing than by what is present”. This awareness of absence is expressing itself both in terms of a vengeful nature (a return of the repressed) and as delicate catalogues of losses.”
“Digging down to reveal the hidden content of the under-earth is another trope of the eerie: what is discovered is almost always a version of capital. Keiller’s Robinson tracks the buried cables and gas-pipes of Oxfordshire, following them as postmodern leylines, and tracing them outwards to hidden global structures of financial ownership. Wheatley’s deserters rapaciously extract “treasure” from the soil, by means of enslavement and male violence. In his cult novel Cyclonopedia (2008), the Iranian philosopher Reza Negarestani figured oil as a sentient entity, developing Marx’s implication that capital possesses emergent and self-willed properties, that it is somehow wild.” / see: 771-robinson-in-ruins-2010
The Office Quest is a ‘casual’ point & click adventure game for those who cannot stay in the office any longer, full of visual humor, puzzles, riddles.
Jurassic World: Fallen Kingdom is a 2018 American science fiction adventure film and the sequel to Jurassic World (2015). Directed by J. A. Bayona, it is the second installment of a planned Jurassic World trilogy. Derek Connolly and Jurassic World director Colin Trevorrow both returned as writers, with Trevorrow and the original Jurassic Park director Steven Spielberg as executive producers. (wiki)
timespace coordinates:1970’s mining town of Bundanyabba – known by the locals as “The Yabba” – outbackAustralia
Wake in Fright (initially released as Outback outside Australia) is a 1971 psychological thriller film directed by Ted Kotcheff, written by Evan Jones and starring Gary Bond, Donald Pleasence, Chips Rafferty, Sylvia Kay and Jack Thompson. Based on Kenneth Cook‘s 1961 novel of the same name, the film follows a young schoolteacher from Sydney who descends into personal moral degradation after finding himself stranded in a brutal, menacing town in outback Australia.
Filmed on location inBroken Hill and Sydney, Wake in Fright was an Australian-American co-production between NLT Productions and Westinghouse Broadcasting. Alongside Walkabout, it was one of two Australian films to be nominated for the Grand Prix du Festival at the 24th Cannes Film Festival. Despite attracting positive reviews, the film was a commercial failure in Australia, in part due to minimal promotion by United Artists, as well as audiences being uncomfortable with its portrayal of outback life, including a controversial hunting scene involving real kangaroos being shot.
By the 1990s, Wake in Fright had developed a cult reputation as Australia’s great “lost film” because its master negative had gone missing, resulting in censored prints of degraded quality being used for its few television broadcasts and VHS releases. After the original film and sound elements were rescued by editor Anthony Buckley in 2004, the film was digitally remastered and given a 2009 re-release at Cannes and in Australian theatres to widespread acclaim; it was issued commercially on DVD and Blu-ray later that year. Praised by critics for its direction and performances, Wake in Fright is now considered a pivotal film of the Australian New Wave and has earned a rare 100% approval rating on the review aggregator website Rotten Tomatoes.
Life That Glows is a 2016 British nature documentary programme made for BBC Television, first shown in the UK on BBC Two on 9 May 2016. The programme is presented and narrated bySir David Attenborough.
The 10 percent of the brain myth is a widely perpetuated urban legend that most or all humans only use 10 percent (or some other small percentage) of their brains. It has been misattributed to many people, including Albert Einstein. By extrapolation, it is suggested that a person may harness this unused potential and increase intelligence. (read more)
TimeSpace Warps 