wonderful soundscape Erika am drifting away

Unheimlich –
When mismatching modes of intelligence, cognition and communication confront one another.

As Mark Fisher writes in The Weird and The Eerie, it’s not a simple case of 'enjoy[ing] what scares us'. Rather, ‘it has … to do with a fascination for the outside, for that which lies beyond standard perception, cognition and experience', an affect that involves terror and distress, but isn’t wholly described by them. 

Freud's believed that what we find the most eerie or scary originates not from the exotic or foreign, but from what was originally familiar then repressed and subsequently remanifested in an uncanny/ unheimlich guise.

It is not often that we come by experiences that threaten to disturb these patterns. Given the choice, most of us would deliberately avoid them. ‘It makes sense’, writes Freud, that ‘repetition, the re-encountering of identity [or sameness], is itself a source of pleasure’ — for pleasure, as Fisher helpfully glosses, ‘alway[s] refer[s] to previous forms of satisfaction’ — it is defined by familiarity. But what if this situation were inverted — the heterogeneity and diversity that can be sustained by rhythm preceding the necessary homogeneity of the tempo? What if objects didn’t work how you expected them to? What if the framing logic of time and space was different? What if the beat was … eerie?

Unheimlich

Syntax Erika works with electronic sound patterns, layering field recordings and synthetic noise into immersive sonic strata. Her practice fuses dark ambient, industrial drones, art-techno, noise, and experimental synthesis, creating soundscapes that mixed between natural sounds and synthetic noises.

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