S1: In the witch house

In the Witch House representation and material face each other in dramatic stand-off.  Material is assaulted by representation’s desire to cancel it out in the silky seamless glamour of illusionism. Material has nonetheless its own defence through its insistent tactile presence.

In the Witch House intention is drowned out by the roar of cosmic winds. Physics and temporal flows map out the body’s rhythms, representation becomes othered to itself. Negated.

In the Witch House words float and slide, meaning melts away while figuration dances counter to clockwork time. Indeterminacy produces a different space, a new geometry, that is as precarious and fragile as that of the Emerald Tablet.

By tanyakrzywinskablog

After working in the computer industry and spending some years conducting research into cinema and digital media, I became convinced that the innovative qualities of videogames as participatory media required closer academic attention. As such I have spent most of my career championing the inclusion of games within the academy, and arguing for games as an art form, a role I continue as a Professor at Falmouth University. Alongside this, and my scholarly work on the Gothic, I also maintain, in various forms, a visual art practice. This blog comes out of enrolling on the MA Fine Art degree programme at Central Sr Martins. It is mainly a record of my reflections on the work that I have undertaken for the degree. After having written about folk horror in games and cinema as an academic, this blog will focus on folk horror as a focus for my art practice.

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