Theory in a Digital Age: A Project of English 483 Students, Coastal Carolina UniversityMain MenuTheory in a Digital AgeRemediationThis chapter will showcase how the remaking of art can leave its impact.Cornel West and Black Lives MatterMacKenzie McKeithan-PrickettDetermination in GamingThe Mind Set and ExperienceThe Hope for a Monstrous World Without GenderIntroduction to "A Cyborg Manifesto" and ThesisFreud's Uncanny Double: A Theoretical Study of the Portrayal of Doubles in FilmThis chapter of the book will look at the history of the theme of the "double" using Freud's Uncanny as the theoretical insight of the self perception of the double in film/cinema.From Literacy to Electracy: Resistant Rhetorical Bodies in Digital SpacesAshley Canter"Eddy and Edith": Online Identities vs. Offline IdentitiesA fictional story about online identities and offline identities. (Also a mash-up video between Eddy and Edith and Break Free.)“Pieces of Herself”: Key Signifiers and Their ConnotationsIs the Sonographic Fetus a Cyborg?How sonographic technology initiates gendered socializationPost-Capitalism: Rise of the Digital LaborerParadox of RaceDr. Cornel West, W.E.B Du Bois, and Natasha TretheweySleep Dealer - Digital LaborBy Melissa HarbyThe Kevin Spacey Effect: Video Games as an Art Form, the Virtual Uncanny, and the SimulacrumThe Twilight Zone in the Uncanny ValleyIntroductionThe Virtual Economy and The Dark WebHow Our Economy is Changing Behind the ScenesTransgender Representation and Acceptance in the MainstreamHow the trans* movement has caused and exemplifies the spectralization of genderA Voice for the Humanities in A Divided AmericaDr. Cornel West on the indifference in our society and how he thinks the humanities can help heal itReading Between the Lines: Diversity and Empowerment in ComicsJen Boyle54753b17178fb39025a916cc07e3cb6dd7dbaa99
Masahiro Mori Uncanny Valley Chart
12016-12-06T07:17:38-08:00Sarah Navina253ed662ff0d8bc7e6ae7a2f49da7ed5a29250c128883Mori's graph, visualizing the valleyplain2016-12-06T07:28:37-08:00Sarah Navina253ed662ff0d8bc7e6ae7a2f49da7ed5a29250c
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1media/night-sky-background.jpg2016-12-01T07:17:54-08:00The Twilight Zone in the Uncanny Valley24Introductionimage_header2016-12-15T10:54:18-08:00 Though Rod Serling’s television series The Twilight Zone often feels atmospherically sinister in the uncertainty of its content and context, it is understood to be cathartic and mostly safe due to its limitations as a work of fiction. This feeling of both intrigue (of its fantastical differences from our world) and discomfort (at its haunting similarities to our own flaws and conflicts) is described by the “uncanny valley” theory. According to the theory premiered by robotics professor Masahiro Mori, when one’s comfort levels are charted as they correspond to viewing a representation of a human-like form, high comfort ratings are recorded in response to clearly artificial images and to representations identical to healthy humans. Between these, though, there is a sudden nosedive in comfort when viewing something that is not quite convincingly human, but which we are nonetheless inclined to perceive as alive (Mori). In the case of the Zone, the uncanny content in question is not simply a representation of something human-like (though cyborgs, talking dolls and dummies, and sentient mannequins do make appearances) but a fictionalized reflection of society or our species in general. When viewers find their skin crawling at the sight of poorly rendered video game characters, this phenomenon is in accordance with Sigmund Freud’s conventional definition of uncanniness as well as the uncanny valley. When viewers find themselves shaken by The Twilight Zone episodes that make their surroundings feel familiar and yet suddenly foreign, uncanniness is performing a slightly different function – more conceptual than visual – but it relates to the valley just as directly. In fact, the Zone’s existence as an entire dimension rather than a singular entity or image might make it even more compatible, at least at the linguistic level, with notions of the uncanny valley. Though the word “valley” in this instance describes a visual representation of a negative reaction, it also calls to mind associations with geography, an idea that The Twilight Zone frequently plays with and complicates.