Rolling bibliography, chapter headings with key references, artists, films, and fiction

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Aguirre, Manuel. ‘Geometries of Terror: Numinous Spaces in Gothic, Horror and Science Fiction’. Gothic Studies 10, no. 2 (2008): 1–17.

Alder, Emily, Jimmy Packham, and Joan Passey. ‘Guest Editors for Haunted Shores’, n.d.

Alenky, Něco z. ‘Dark Wonders and the Gothic Sensibility’. Kinoeye, 2002.

Armstrong, Rachel. ‘Biodesign for a Culture of Life: Of Microbes, Ethics, and Design’, 2022.

———. ‘Decentring Humanism: Working with Nonhumans Though the Process of Experiment’. In Creative Practice Inquiry in Architecture, 240–52. Routledge, 2022.

———. ‘Electron Flow as “Life’s” Matrix: An Implementable Materiality for Organicism via “Living” Architecture’. In Contemporary Perspectives on Architectural Organicism, 165–83. Routledge, 2023.

———. ‘Embodied Intelligence: Changing Expectations in Building Performance’. Intelligent Buildings International 8, no. 1 (2016): 4–23.

———. Soft Living Architecture: An Alternative View of Bio-Informed Practice. Bloomsbury Publishing, 2020.

Armstrong, Rachel, Ioannis Ieropoulos, Lauren Wallis, Jiseon You, and Juan Nogales. Living Architecture: Metabolic Applications for next-Generation, Selectively-Programmable Bioreactors, 2018.

Armstrong, Rachel, and Neil Spiller. Synthetic Biology: Living Quarters. Nature Publishing Group UK London, 2010.

Astral Dynamics, n.d.

Balmain, Colette. ‘Southeast Asian Gothic Cinema’. In The Gothic World, 399–411. Routledge, 2013.

Bell, John. ‘Puppets and Performing Objects in the Twentieth Century’. Performing Arts Journal 19, no. 2 (1997): 29–46.

Bennett, Jane. ‘Systems and Things: A Response to Graham Harman and Timothy Morton’. New Literary History 43, no. 2 (2012): 225–33.

———. ‘Systems and Things: A Response to Graham Harman and Timothy Morton’. New Literary History 43, no. 2 (2012): 225–33.

———. The Enchantment of Modern Life: Attachments, Crossings, and Ethics. Princeton University Press, 2001.

———. Vibrant Matter: A Political Ecology of Things. Duke University Press, 2010.

Bennett, Jane, Pheng Cheah, Melissa A. Orlie, and Elizabeth Grosz. New Materialisms: Ontology, Agency, and Politics. Duke University Press, 2010.

Blythe, Mark, and Enrique Encinas. ‘Research Fiction and Thought Experiments in Design’, n.d., 112.

Bridle, James. New Dark Age: Technology and the End of the Future. Verso Books, 2018.

———. Something Is Wrong on the Internet. Vol. 6. November, 2017.

———. Ways of Being: Animals, Plants, Machines: The Search for a Planetary Intelligence. Penguin UK, 2022.

Brodmerkel, Anke, and Max Delbrück Center for Molecular Medicine. ‘Describing the Genes Associated with the Sixth Sense’. Accessed 14 December 2022. https://medicalxpress.com/news/2022-12-genes-sixth.html.

Carroll, Noël. ‘The Nature of Horror’. The Journal of Aesthetics and Art Criticism 46, no. 1 (1987): 51–59.

———. ‘The Nature of Horror’. The Journal of Aesthetics and Art Criticism 46, no. 1 (1987): 51–59.

Cooper, L. Andrew. Gothic Realities: The Impact of Horror Fiction on Modern Culture. McFarland, 2014.

———. Gothic Realities: The Impact of Horror Fiction on Modern Culture. McFarland, 2014.

Darling, Kate. The New Breed: How to Think about Robots. Penguin UK, 2021.

Demson, Michael. ‘The Ungovernable Puppets and Biopolitics of Hawthorne’s Gothic Satires’. Nathaniel Hawthorne Review 38, no. 2 (2012): 72–92.

Evans, Jules. ‘Can an AI Generate — or Itself Have — Spiritual Experiences?’ Medium (blog), 10 September 2022. https://julesevans.medium.com/what-artificial-intelligence-tells-us-about-spiritual-experiences-5fbbbf516fe5.

Fiore, Quentin, and Marshall McLuhan. The Medium Is the Massage. Vol. 10. New York: Random House, 1967.

Greenaway, Jonathan. Theology, Horror and Fiction: A Reading of the Gothic Nineteenth Century. Bloomsbury Publishing USA, 2020.

Gross, Kenneth. Puppet: An Essay on Uncanny Life. University of Chicago Press, 2011.

Halberstam, Judith. Skin Shows: Gothic Horror and the Technology of Monsters. Duke University Press, 1995.

Halpern, Megan K., Jathan Sadowski, Joey Eschrich, Ed Finn, and David H. Guston. ‘Stitching Together Creativity and Responsibility: Interpreting Frankenstein across Disciplines’. Bulletin of Science, Technology & Society 36, no. 1 (2016): 49–57.

Haraway, Donna. ‘Companion Species, Mis-Recognition, and Queer Worlding’. Queering the Non/Human, 2008, xxiii–xxxvi.

———. Simians, Cyborgs, and Women: The Reinvention of Nature. Routledge, 2013.

———. ‘When Species Meet’. In The Routledge International Handbook of More-than-Human Studies, 42–78. Routledge, 2008.

Haraway, Donna J. Staying with the Trouble: Making Kin in the Chthulucene. Duke University Press, 2016.

Haraway, Donna Jeanne. The Companion Species Manifesto: Dogs, People, and Significant Otherness. Vol. 1. Prickly Paradigm Press Chicago, 2003.

Harkup, Kathryn. Making the Monster: The Science behind Mary Shelley’s Frankenstein. Bloomsbury Publishing, 2018.

Harman, Graham. Object-Oriented Ontology: A New Theory of Everything. Penguin UK, 2018., n.d.

Hubner, Laura. Fairytale and Gothic Horror: Uncanny Transformations in Film. Springer, 2018.

Hughes, Rolf, and Rachel Armstrong. ‘The Art of Experiment’. The Handbook of the Unknowable, Trondheim: TEKS, 2016, 82–87.

Ingold, Tim. Making: Anthropology, Archaeology, Art and Architecture. Routledge, 2013.

———. Making: Anthropology, Archaeology, Art and Architecture. Routledge, 2013.

———. ‘The Textility of Making’. Cambridge Journal of Economics 34, no. 1 (2010): 91–102.

Jacobs, Daneille. ‘Entering the Grotto of the Biomechanical Puppeteer: Exploring the Grotesque in Stop Motion Puppetry’. Stellenbosch: Stellenbosch University, 2014.

Kim, Sung Ho. ‘Max Weber’, 24 August 2007. https://plato.stanford.edu/entries/weber/#ReenViaDise.

Klein, Ezra. ‘Beyond the’Matrix’Theory of the Mind.’ International New York Times, 2023, NA-NA.

———. ‘I Didn’t Want It to Be True, but the Medium Really Is the Message’. International New York Times, 2022, NA-NA.

———. ‘This Is a Weirder Moment Than You Think.’ International New York Times, 2022, NA-NA.

Kohn, Eduardo. How Forests Think: Toward an Anthropology beyond the Human. Univ of California Press, 2013.

Latour, Bruno. We Have Never Been Modern. Harvard university press, 2012.

Lu, Chifen. ‘Uncanny Dolls and Bad Children in Contemporary Gothic Narratives’. Concentric: Literary and Cultural Studies 45, no. 2 (2019): 195–222.

Morton, Timothy. All Art Is Ecological. Penguin UK, 2021.

———. Being Ecological. Mit Press, 2018.

———. Humankind: Solidarity with Non-Human People. Verso Books, 2017.

———. Hyperobjects: Philosophy and Ecology after the End of the World. U of Minnesota Press, 2013.

———. Realist Magic: Objects, Ontology, Causality. Open Humanities Press, 2013.

———. Realist Magic: Objects, Ontology, Causality. Open Humanities Press, 2013. https://doi.org/10.3998/ohp.13106496.0001.001.

Nayar, Pramod K. ‘Saw(Ed) Off: Horrorism as the New Materialism in the Torture Film’, n.d.

O’Gieblyn, Meghan. God, Human, Animal, Machine: Technology, Metaphor, and the Search for Meaning. Anchor, 2022.

Opinion, New York Times. ‘The Future Is Going to Be Weird. Are We Ready? - Transcripts’. Steno. Accessed 3 May 2023. https://steno.ai/the-ezra-klein-show/the-future-is-going-to-be-weird-are-we-ready.

Orenstein, Claudia, and Tim Cusack. Puppet and Spirit: Ritual, Religion, and Performing Objects. Routledge, 2024.

Pilling, Franziska, and Paul Coulton. ‘Forget the Singularity, Its Mundane Artificial Intelligence That Should Be Our Immediate Concern’. The Design Journal 22, no. sup1 (1 April 2019): 1135–46. https://doi.org/10.1080/14606925.2019.1594979.

Poland, Michelle. ‘Www.Gothicnaturejournal.Com’, n.d.

Seibold-Bultmann, Ursula. ‘Monster Soup: The Microscope and Victorian Fantasy’. Interdisciplinary Science Reviews 25, no. 3 (2000): 211–19.

Shildrick, Margrit. ‘Posthumanism and the Monstrous Body’. Body & Society 2, no. 1 (1996): 1–15.

Spooner, Catherine. Contemporary Gothic. Reaktion Books, 2006.

Sutcliffe, Jamie. Magic. MIT Press, 2021.

UCL. ‘Out-of-Body Experiences at UCL’. UCL News, 24 August 2007. https://www.ucl.ac.uk/news/2007/aug/out-body-experiences-ucl.

Wakkary, Ron. Things We Could Design: For More than Human-Centered Worlds. MIT press, 2021.

Warner, Marina. Managing Monsters. Random House, 2010.

———. Phantasmagoria: Spirit Visions, Metaphors, and Media into the Twenty-First Century. Oxford University Press, USA, 2006.

Watson, Janell. ‘Eco-Sensibilities: An Interview with Jane Bennett’. The Minnesota Review 2013, no. 81 (2013): 147–58.

Wedlich, Susanne. Slime: A Natural History. Melville House, 2023.

Wright, Angela. Gothic Fiction. Bloomsbury Publishing, 2007.

Zeier, John A. The Meaning of Horror: A Philosophical View. California State University, Dominguez Hills, 1996.

N.d.

 

 

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I have begun adding key references split into chapters for thesis:

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• Introduction

 

Warner, Marina. Phantasmagoria: Spirit visions, metaphors, and media into the twenty-first century. Oxford University Press, USA, 2006.

Fiore, Quentin, and Marshall McLuhan. The medium is the massage. Vol. 10. New York: Random House, 1967.

Ingold, Tim. Making: Anthropology, archaeology, art and architecture. Routledge, 2013.

• Thinking through making where the maker and materials correspond to one another.

'Memories, Dreams, reflection. An Autobiography', Carl Jung, Collins and Routledge & Kegan Payl, 1963

 

 

• Bridge 1 – The puppet essence

K. Gros, ‘An Essay on Uncanny Life’, The University of Chicago Press, 2011, p.4

- Kenneth Gross's description of  the ‘madness’3 of a puppet and ‘its commitment to giving life to the unliving, its negotiations with death and survival’ and its ‘fundamental strangeness’

M. Fisher, The Weird and The Eerie, Repeater Books, 2016

- the weird and the eerie on the edges of genre
Currell, David. 'The Complete Book of Puppet Theatre', D. Currell, Pitman Publishing Ltd, 1976

A, Mello, C Orenstein, C Astles, 'Women and Puppetry', Critical and Historical Investigations, Routledge, 2019 

Sutcliffe, Jamie, ed. Magic. MIT Press, 2021.

 

• Chapter 1. Automata and The Power of Movement

Darling, Kate. The new breed: How to think about robots. Penguin UK, 2021.

• Attachment to objects. Anthropomorphising tech / things not understood.

May,, Simon, The Power of Cute. Princeton, NJ: Princeton University Press, 2019.

• Attachments / relations to objects, cute response.

Morton, Timothy. Realist magic: Objects, ontology, causality. Open Humanities Press, 2013.

 

 

• Bridge 2. Mary Shelley – Imbuing Life

Shelley, Mary W. ‘Frankenstein; or, The modern Prometheus’, 1818

Halpern, Megan K., Jathan Sadowski, Joey Eschrich, Ed Finn, and David H. Guston. "Stitching together creativity and responsibility: Interpreting Frankenstein across disciplines." Bulletin of Science, Technology & Society 36, no. 1 (2016): 49-57.

 

• Chapter 2. Illusion, The Lab and AI

 

Crawford, Kate. The atlas of AI: Power, politics, and the planetary costs of artificial intelligence. Yale University Press, 2021.

• how AI is a technology of extraction: from the energy and minerals needed to build and sustain its infrastructure, to the exploited workers behind 'automated' services, to the data AI collects from us.

'Farmico AI' by K. Alotta McDowell,

• which was co-written with GPT-3

Halberstam, Judith. Skin shows: Gothic horror and the technology of monsters. Duke University Press, 1995.

• ‘Gothic, in a way, refers to ornamental excess (think of Gothic architecture – gargoyles, and crazy loops and spirals), a rhetorical extravagance that produces, quite simply, too much’. [1]

• ‘Within gothic novels, I argue, multiple interpretations are embedded in text and part of the experience of horror comes from the realisation that meaning itself runs riot. Gothic novels produce a symbol for this interpretive mayhem in the body of the monster’. - The laser-cut patterns I made for Pincer, started moving toward this direction. Obscure and intense narrative poured into shapes, scenes, symbols, worlds.

Ways of Being: Animals, Plants, Machines: The Search for a Planetary Intelligence. Penguin UK, 2022.

• James Bridle - 'other beings are the animals, plants, and natural systems that surround us, and they are slowly revealing their complexity and knowledge - just as the new technologies we’ve built are threatening to cause their extinction, and ours.’ (J. Bridle, Being Human, 2022)

Trigg, Dylan, ed. Atmospheres and shared emotions. Routledge, 2021.

Arielli, Emanuele, and Lev Manovich. "Techno-animism and the Pygmalion effect." (2022).

• AI questions assumption ‘that feeling the “mind behind” an artwork, be it a painting, a song, a novel is a crucial ingredient of our aesthetic appreciation.’

 

 

• Bridge 3. Between Worlds: Genre Bending Aesthetics

Artist in focus: Sybille Ruppert

Carroll, Noël. "The nature of horror." The Journal of Aesthetics and Art Criticism 46, no. 1 (1987): 51-59.

M. Fisher, The Weird and The Eerie, Repeater Books, 2016

Morton, Timothy. All Art Is Ecological. Penguin UK, 2021.

• Timothy Morten in All Art is Ecological, describes ‘weirdness’ or the ‘hesitation quality’ as being ‘vital to our experience of ecology’

 

• Chapter 3. The More-Than-Human and Architecture

Wedlich, Susanne. Slime: A Natural History. Melville House, 2023

Haraway, Donna J. Staying with the Trouble: Making Kin in the Chthulucene. Duke University Press, 2016.

Bennett, Jane. Vibrant Matter: A Political Ecology of Things. Duke University Press, 2010

• Jane Bennett's ideas of ‘sensibility’ to encourage a ‘rich complexity of material life, to think of nature not as something out there but as a set of interacting forces, flows, and entities at work inside our bodies as they also form various kinds of links across bodies.’ (J. Bennett, Eco-sensibilities: An Interview with Jane Bennett, The Minessota Review, vol 2013, issue 81, p.153

Morton, Timothy. Humankind: Solidarity with non-human people. Verso Books, 2017.

• He argues that becoming human means creating a network of kindness and solidarity with non-human beings contributing to a broader understanding of reality and species. Builds upon object-oriented ontology into realm of ecology.

Kohn, Eduardo. How forests think: Toward an anthropology beyond the human. Univ of California Press, 2013.

Tsing, Anna Lowenhaupt. The mushroom at the end of the world: On the possibility of life in capitalist ruins. Princeton University Press, 2015.

• the relation between capitalist destruction and collaborative survival within multispecies landscapes through exploring the growth of the mashtuke mushroom. - multispecies ethnography.

Decentring Humanism: Working with Nonhumans Though the Process of Experiment’. In Creative Practice Inquiry in Architecture, 240–52. Routledge, 2022.

Susanne Wedlich, - 'Slime, A Natural History', Granta Publications, 2021

- 3 billion year history of slime, from the part it played in the evolution of life on this planet to the way it might feature in the post-human future

R. Armstrong, Liquid Life: On Non-Linear Materiality, CTM Documents Initiative, 2019.,

- looks at ‘the concept of angels’, to uphold ‘the diversity in our approaches towards an understanding of the innate strangeness of the natural realm’ (p.57)

Metzinger, Thomas. The ego tunnel: The science of the mind and the myth of the self. Basic Books (AZ), 2009.

• Consciousness research – dissolving ideas of the self. I relate to puppetry.

Ramlochan, Janine. "Biology Wafts: Heterotopic Space and the Posthuman in Anicka Yi's Works." (2022).

 

• Bridge 4: Portals and Hybrids

Films:

Scott, Ridley, et al., Prometheus. Beverly Hills, Calif., 20th Century Fox Home Entertainment, 2012.

Microscopic puppets:

Fitz James O'Brien – The Diamond Lens

Seibold-Bultmann, Ursula. "Monster Soup: the microscope and Victorian fantasy." Interdisciplinary Science Reviews 25, no. 3 (2000): 211-219. (golden age of British fairy painting coincided chronologically with the Victorian microscopy craze) – science and fantasy.

 

 

 

• Chapter 4. - Shudder: Installation, World Building and Audience

 

TRIGG, DYLAN. "“An insect trapped in amber” The Flesh of the Ghost in The Devil’s Backbone."

• Guillermo del Toro’s The Devil’s Backbone begins with a mediation on what a ghost is. Of the various possibilities, at least six articulations of the ghost emerge: as a tragedy, an instant of pain, a half-dead thing, a suspended emotion, a blurred photograph, and “an insect trapped in amber.”

 

 

 

 

List of relevant film/ artists/ fiction:

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Films:

Hannah Bergholm – Hatching

Ari Aster - Midsummer and Hereditary (Wallpaper and interior set design)

Jordan Peele – Nope

Frankenstein as cultural phenomenon, Versions and reinterpretations – Especially Bride of Frankenstein, Poor Things, Silence of the Lambs.

James Whale - The Bride of Frankenstein

Bong Joon-ho - The Host

David Cronenberg – The Fly, (psychological, physical, and technological horrors – in particular The Brood, Scanners and The Fly.)

Guillermo del Toro - The Devils Backbone, 2001

Hanna Bergholm – Hatching, 2022

Ridley Scott – Prometheus 2012 (and the Alien franchise)

Jordan Peele - Nope

Steven Spielberg - Jurassic Park

 

Artists:

 

Painters:

Sybille Ruppert

Francisco de Goya, Saturn Devouring His Son, 1823

Francisco de Goya, The Sleep of Reason Produces Monsters, 1797-1799

Henry Fuseli, The Nightmare, 1781

 

Kinetic works:

László Moholy-Nagy

Jean Tingley

Dean Kenning – small messy robots, mechanisms and wires on show, no effort for a cute face or texture but somehow still sweet.

Tim Spooner – A New Kind of Animal. Fur

Mike Kelly – stuffed toy sculptures

Kim j – fluffy more obviously ‘cute’.

Paul Chan-  pentasophia – balloon moving things.

Elisabeth and Helen – Artist and designers who make kinetic installs.

Exhibition: ‘UVA - Synchronicity’ , exhibited at @180.studios

Benedict Bjerre, Lisa’s Chickens (Farm Life), 2016/2022

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Artificial Intelligence in art:

Zach Blas - ‘CULTUS’ by  @zachblas curated by @_rebecca.edwards exhibited at @arebyte

Joey Holder – Cryptology / cryptozoology.

Marjanne van Helvert - is a designer, researcher and writer based in Amsterdam. https://www.mediamatic.net/en/page/387269/for-the-love-of-the-object-design-in-the-opposition
 

Expanded cinema, phantasmagoria and installation:

Lindsay Seers,

Erica Beckman,

Pipilotti Rist,

Hito Styrele.

 

Art and Science:

Anicka Yi

 

Fiction:

Mary Shelley, Frankenstein

Kafka, Metaorphisis

• Metamorphosis. Human becoming creature. An example of storytelling where the realisation of what is happening slowly drips out. The effect of the reader discovering something at the same time as the protagonist is something I aim to bring into an art installation.

 

[1] Judith Halberstam, Skin Shows: Gothic Horror and the Technology of Monsters, 1991, p2

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