1. The Uncanny

Ugliness as uncanniness: The revulsion towards feísmo comes from the difference between what we expect from rural architecture and what we are actually getting. That difference is uncanny.


Uncanniness,is the disquieting slippage between the homely and unhomely.


Interestingly, the german word for uncanny, heimlich, is directly related to the very concept of home. Something uncanny is unheimlich (not-of-the-home). But at the same time, familiarity can breed uncanniness: German dictionaries from the 19th century record the use of heimlich to mean its opposite.


Other scattered notes:


the uncanny as a metaphor for tha fundamentally unlivable modern condition.


Its favorite motif was precisely the contrast between a secure and homely interior and the fearful invasion of an alien presence.


At the heaert of the anxiety provoked by such alien presences was a fundamental insecurity: that of a newly established class, not quite at home in its own home.


The uncanny would be sinister, disturbing, suspect, strange; it would be caracterized as dread rather than terror, deriving its force from its inexplicability, ts snese of lurking unease, rather than from any clearly defined source of fear

Ugliness in Galicia is more than aesthetic: it is as well -and you know it if you have been raised in one of those houses, the sensation of not feeling at ease in your own home, of being in a space barely more comfortable, less moist and cold than the outside.


However, this is not necessarily entirely negative. Schelling believed that the estrangemente of uncanniness was necessary for the birth of poetry. It is this disturbance of our senses that is necessary for us to create a new, better galician architecture.

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