Freud’s House: The Double Mirror
- Submitting institution
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The University of Huddersfield
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 27
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Multi-component: Artefact and Journal Articles including Contextual Information
- Open access status
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- Month
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- Year
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Freud’s House: The Double Mirror is a video work created at the Freud Museum, London by collaborative artist trio Brass Art (Lewis, Mojsiewicz, Pettican) and developed from their long-held research interest in Freud’s The Uncanny (1919). Knowing that both of Freud’s former homes exist as museums – one full, the other empty – the proposition that the London house is visually ‘haunted’ by the Vienna apartment is mirrored in Brass Art’s visual research employing digital technologies of replication.
The artists investigated a temporal uncanny in this site, previously mined by artists, curators and writers, significantly Susan Hiller and Cornelia Parker and addressed by theorists Masschelein, Vidler and Cixous. Combining doubled and revolving imagery with an intimate binaural soundtrack, developed with composer Monty Adkins, Brass Art used digital, performative and sonic repetition to create artworks in which doubling was invested as a means of interrogating the concept of the uncanny.
Multiple Kinect on-range 3D sensors captured the artists’ movement up and downstairs and between Freud’s study and library, as they performed repeated actions and gestures, and coaxed sounds from Freud’s usually inaccessible objects. Processes to capture the effects of reflective materials on cloud-data capture were also tested. The modification of open-source processing software enabled the framing, construction and editing of the non-linear narratives and the visualizing of an ‘absence-presence’. The synthesizing of visual digital data and on-site sound recordings generated a new spatial approach for electro-acoustic composition, and a resonant reading of the site, as a process of ‘re-translation’.
Freud’s House: The Double Mirror has been exhibited and screened in galleries and International symposia across UK, Europe and Asia, and its themes further developed in essays, papers and journals. It was funded by Arts Council England, commissioned by University of Salford’s Commission to Collect Programme and acquired for their collection.
- Author contribution statement
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- Non-English
- No
- English abstract
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