'Freud’s House: The Double' and ‘Freud’s House: The Double Mirror’
- Submitting institution
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University of Edinburgh
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 30211356
- Type
- L - Artefact
- Location
- Salford
- Open access status
- -
- Month of production
- September
- Year of production
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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4
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The output consists of one video work in two forms: Freud’s House: The Double (2015) and Freud’s House: The Double Mirror (2015). The first was a single screen work; the second was a two-screen video installation.
The output was produced by the collaborative group Brass Art (Kristin Mojsiewicz, Anneke Pettican and Chara Lewis). It is part of their trilogy of works entitled Shadow Worlds | Writers Rooms, an ongoing investigation into the digital representation of domestic spaces of well-known literary figures – specifically, how the reanimation of site or objects can evoke or activate memory, knowledge, translation and inscription. The output takes as its theme the displacement of Freud’s domestic objects – such as his iconic couch – from his home in Vienna to his home in London (now the Freud Museum) and explores the notion that the latter is ‘visually haunted’ by these displaced objects.
Freud’s House: The Double Mirror is an expansion and ‘duplication’ of Freud’s House: The Double. The latter was made and exhibited at the museum in 2015 and recorded the artists’ inhabitation of the space. The sonic component of the work is significant to its conception and effects: collaborating with composer Monty Adkins and technologist Spencer Roberts, Brass Art developed a method of synthesizing visual digital data and on-site sound recordings to produce an innovative spatial approach to electro-acoustic composition.
Freud’s House: The Double Mirror was made and exhibited at the Freud Museum in 2015. It bifurcated the original work, turning it into a mirror image, in this way amplifying and intensifying its effects. Doubling was invested as a means of interrogating the relation of digital technologies of replication to the uncanny.
- Author contribution statement
- -
- Non-English
- No
- English abstract
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