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The term “unconcept” captures the strange logic of the uncanny, as being “marked by the unconscious that does not know negation of contradiction … denying something at the same time conjures it up”. This duplicity inherent in the term mirrors the instability of the uncanny, as it slides between appearance and disappearance, coherence and incoherence. At all times, the uncanny is a concept that resists understanding and conceptualization. Above all, it announces a “nonthinking” whereupon “every successful conceptualization of the uncanny is doubled and also determined by failing conceptualizations”.
Dylan Trigg reviews Anneleen Masschelein‘s The Unconcept.
The tone of Killing Daniel is a pavement shining with northern rain, late night in a totalising comfortable darkness where you become very conscious of your breathing and the texture of the back of your throat. There are a few moments of hope, and positivity – Fleur’s relationship with her grandmother, and her romantic encounter with a gentle off-duty cop – but they don’t detract from the pace, which is unremitting, and sepulchral. Apart from some of the habitual glitches that all writers commit (Yugi’s character is a bit stock anime villain for me, and you don’t need to italicise the names of fast food outlets and retail chains) the prose is fine and measured. The foulness of abuse, exploitation of women and children, resonates without hectoring. No misery-memoir descriptions are more frightening and damning that Fleur’s admission that her father simply watches her.
Max Dunbar reviews Sarah Dobbs‘ Killing Daniel.
Computer models of mind are trying to give a naturalistic explanation of cognition. Yet these models typically ascribe contents that go beyond anything that is determined by a purely naturalistic relation. So if they are trying to explain meaning by appeal to a naturalistic relation, as most philosophers of mind seem to assume, then they are doing a really bad job of it. And if they are presuming meaning in their models then they are not making much progress on the problem that philosophers of mind are interested in. They are trafficking in more of the same mysterious stuff.
Continung the End Times series, Richard Marshall interviews Frances Egan.
We have a tendency to overestimate our access to facts. It relates to our tendency to over-attribute intentionality. We err on the side of believing that there are adversaries out there monitoring our doings. Even a squirrel presumes a branch was thrown rather than that it merely fell. A squirrel that more realistically presumes that the branch fell by coincidence is easier prey. But we should not binge on humble pie. Common sense and science give us plenty of knowledge.
Continuing the End Times series, Richard Marshall interviews Roy Sorensen.
It was Muriel Belcher who bought them all there into her private cocktail party where you could be yourself at a time of prosecuting homophobia, it gathered all the key components of Wolfenden and the Montagu case together at the bar. Her legendary charisma, warmth, wit and foul mouth, “If you joined all the cocks she’s had together, it would build a handrail across the Alps” and when Driberg tried to stop a compromising picture of himself and the Krays appearing in a book she commented, “Tom never complained when Ronnie Kray’s cock was in his mouth.” She had been active in the West End night club scene longer than she was willing to reveal later on. She had been involved in two other clubs prior to taking over the Colony. But she was in the business of building her own legend, not always from the upmost truth, perhaps it was easier to be known as ‘Muriel Belcher the Portuguese Jewish lesbian’ than denying it, perhaps it added to her glamour along with the lie that her parents had owned The Alexandra Theatre, Birmingham. We can all dream.
Sophie Parkin tells 3:AM about her forthcoming account of Soho institution The Colony Room.
Several years later, the site was almost entirely razed and converted into a suburban ‘commemorative’ park for the citizens of Osaka, with Expo 70′s emblematic ‘Tower of the Sun’ allowed to remain standing at its entrance. Astrorama, too complex and cumbersome for commercial exploitation, also became redundant, and the original celluloid film-cans containing The Birth were stored-away without being documented, and forgotten, until researchers from the Hijikata archive at Tokyo’s Keio University re-discovered them, forty years later, in the Osaka storage-facilities of the Sanwa Midori-kai alliance of corporations whose previous incarnation had sponsored the Midori-kan pavilion.
Stephen Barber writes on the re-discovery of a lost film of the legendary Japanese artist and choreographer, Tatsumi Hijikata.