'Uncanny Valley'

Used in reference to the phenomenon whereby a computer-generated figure or humanoid robot bearing a near-identical resemblance to a human being arouses a sense of unease or revulsion in the person viewing it.
"anyone attempting to build a believable human facsimile also has to beware of the uncanny valley"

This artist focuses a lot on 'gross details' that are normally glazed over in art, adding skin imperfections and spending additional time on saliva and gore etc. Being 19 as well, she of course draws a lot from personal experience of millenial culture ie parties etc and fads (oculolinctus/worming, shoeys)

Perhaps things I can also use as reference.

The trippy visual effects this artist works with are traditionally created and visually similar to the distorted GIFs I'll also be experimenting with. More media to experiment with.

Important features to notice:

- Cartoon gore; uncomfortable to look at, sometimes overtly disgusting
- Meat blanket: visually disgusting, but not actually a blanket made of meat
- Messages of hopelessness

V accurate

“It is a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to evaporate into the past; should exist only in memories, glimpsed through the fog of events that came after. Photographs force us to see people before their future weighed them down….”


Kate Morton

How to tell stories through photography

Magnum photographer Alec Soth has been telling the stories behind America’s outsiders for over a decade – here’s how

Written by Amy Newson, accessed 28th Feb 2016

The creator of hauntingly striking photographs, Minneapolis-born and based Alec Soth is a storyteller disguised as a documentary photographer. His images hint at an underlying story; capturing people and places set with a melancholy tone. A Magnum photographer as well as founder of his own publishing house Little Brown Mushroom, it takes just one glimpse of any of his many photography books like Sleeping by the Mississippi (2004)NIAGARA (2006), Broken Manual (2010) and Songbook (2015) to begin to sense that these photographs are grouped together for a reason – to suggest a narrative, told through thematic photographs. Setting his gaze on the US – outside of New York and Los Angeles mostly – his distinct voice tells the story of the country’s outsiders. “I don't think there's anything more powerful than a story – I have this tug of war with storytelling, where I want to tell stories but it's not necessarily what photography's good at,” he says. “I'm definitely a project photographer – what photography is good at is suggesting a story without necessarily telling one.”

Before his appearance at The Photography Show in Birmingham (19-22 March), where he will discuss the many road trips where he captures his magical portraits, we asked him about the art of storytelling.

“I plan as much as I can ahead but then the reality of the world changes everything and it's this constant act of planning and then re-modulating based on what I find” – Alec Soth


“When I was setting out it was photography that inspired me and now that's really faded away because it's just too much influence from the same medium and that’s not necessarily a healthy thing. I take a lot of inspiration from poetry – it functions a lot like photography – as well as film and literature.

Poetry for me is this current, it's this river that I dip into, but I don’t really have a favourite spot. Lately, there's this poet, Dean Young, who I've become really enamoured by. His way of mixing surrealism with American quality really resonates with my own work.”


“Generally I come up with some idea and I go out and start chasing after it and the idea morphs over time, like Sleeping by the Mississippi – when that one started it had nothing to do with the Mississippi river and had a totally different title. The most recent project Songbook started at The LBM Dispatch, which is a self-published newspaper that I worked on with Brad Zellar, a photo writer, so it's really about coming up with an idea but allowing it to evolve.

I plan as much as I can ahead but then the reality of the world changes everything and it's this constant act of planning and then re-modulating based on what I find.”


“As Richard Avedon always talked about, the photographer invariably has more power in the relationship because they choose when to take the picture. I tend to not do a tonne of posing but I certainly move people, I make the analogy to a family portrait and say ‘move to the right, move to the left, stop grinning like that’, all those kinds of things, but I'm generally not constructing whole scenes.

It can be quite intimate and have an intensity to it but I'm not the kind of photographer that ever lives with people for weeks. I like the brevity of it because photographs themselves have this fragmentary quality.

If you talk long enough with anyone you generally find that they're somewhat unusual, when you just get past the surface of things, there's something interesting deep down if you get in there. It's just that some people express this more openly than others so it's less obscured.”


“In a sense, I take a lot of inspiration from the journalism that came to prominence in the 70s where the journalists didn't speak in the third person, it's like they are essentially a character in the story. While I don’t necessarily turn the camera on myself – I don’t want to sound like I have some authoritative view – I want to feel like a piece of the story, because I am.”

'Luxury noise: the sounds we choose to surround ourselves with.'

'We might think of sound, by way of contrast, as a force that stitches us in time and space. We twist when we hear the sound of our name. We wake to the alarm, the baby's cry, the whiny grind of a garbage truck. Bells, gongs, whistles, drums, horns, and guns are "sounded" to announce the hour of the day to launch significant events.' 

'We love similarity, but hate and resent dissimilarity.'


In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, and Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire expressing their disgust with the war and the interests that inspired it.

Some sources state that Dada coalesced on October 6 at the Cabaret Voltaire. Other sources state that Dada did not originate fully in a Zürich literary salon but grew out of an already vibrant artistic tradition in Eastern Europe, particularly Romania, that transposed to Switzerland when a group of Jewish modernist artists (Tzara, Janco, Arthur Segal, and others) settled in Zürich. In the years prior to the First World War similar art had already risen in Bucharest and other Eastern European cities; it is likely that DADA's catalyst was the arrival in Zürich of artists like Tzara and Janco.

Having left Germany and Romania during the Great War, the artists found themselves in Switzerland, a country recognised for its neutrality. Inside this space of political neutrality they decided to use abstraction to fight against the social, political, and cultural ideas of that time. The dadaists believed those ideas to be a byproduct of bourgeois society, a society so apathetic it would rather fight a war against itself than challenge the status quo.

Janco recalled, "We had lost confidence in our culture. Everything had to be demolished. We would begin again after the tabula rasa. At the Cabaret Voltaire we began by shocking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order."

The Cabaret closed its doors in early July and then at the first public soiree at Waag Hall on July 14, 1916, Ball recited the first manifesto. In 1917, Tzara wrote a second Dada manifesto considered one of the most important Dada writings, which was published in 1918. Other manifestos followed.

A single issue of the magazine Cabaret Voltaire was the first publication to come out of the movement.

After the cabaret closed down, Dada activities moved on to a new gallery, and Hugo Ball left for Bern. Tzara began a relentless campaign to spread Dada ideas. He bombarded French and Italian artists and writers with letters, and soon emerged as the Dada leader and master strategist. The Cabaret Voltaire re-opened, and is still in the same place at the Spiegelgasse 1 in the Niederdorf.

Zürich Dada, with Tzara at the helm, published the art and literature review Dada beginning in July 1917, with five editions from Zürich and the final two from Paris.

Other artists, such as André Breton and Philippe Soupault, created “literature groups to help extend the influence of Dada.”

After the fighting of the First World War had ended in the armistice of November 1918, most of the Zürich Dadaists returned to their home countries, and some began Dada activities in other cities. Others, such as the Swiss native Sophie Täuber, would remain in Zürich into the 1920s.


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