spatial overturning

I lost the track of what I am working on. I need a summery, need to reorganize what I've done till now to really understand where I am going.

First:

SPATIAL OVERTURNING

Starting from the analysis of Surrealism, Surrealists and dreamy stuff I've been really impressed by the way the deal with space. There is no a right way to understand the space around us. Everything is changeable. Magritte focused on the importance of ordinary objects in unusual context. Which I think is great. I mean, think about an apple and a room, both of them are common, we are familiar with that, yet their combination can be managed in different ways and become WEIRD. 

Is it a huge apple in a normal room, or is it a tiny room with a normal apple placed in?

huge

tiny

normal

space

object

perception

Everybody thinks, actually, that the apple is huge. This happens because we live following rules, spatial and temporal rules which make us feel confortable within the space we live in.
But what if you are projected in a space that doesn't make any sense with what we are used to?
What if it is raining in the room you are with your girlfriend?

What if you are in the middle of a place that you can work out, which seems to be tricky and incomprehensible?  How would you feel having a bath in sink?

Eternal sunshine of the spotless mind. 2004

Reading the essay about the uncanny by Sigmund Freud I found out that people differ greatly in their sensitivity to this kind of feeling, but in case we would like to generalize the meaning of this word we might say that the UNCANNY (Unheimlich in deutsch) is strictly linked with whatever is UNKNOW and UNFAMILIAR. For the autor the essential condition for the emergence of a sense of the uncanny is INTELLECTUAL UNCERTAINTY. The better orientated you are in the world around you, the less likely you would be to find the objects and occurrences in it uncanny.

Besides Friedrich Shelling, a german philosopher who Freud talks about in his essay, remarked that the term uncanny applies to everything that was intended to remain secret, hidden away, and has come into the open. In this way and even more according with the theory of Ernst Jentsch, a german psychiatrist, the uncanny is in a way part of what is familiar, but from a different point of view. He refers many time to the impressions made on us by waxwork figures, ingeniously constructed dools and automata. For producing uncanny felling through the story-telling, for instance, 'is to leave the reader wondering whether a particular figure is a real person or an automaton. 

If you leave a person free to choose, you'll never know what his or her choice will be. Here we go again with the focal importance of the people's thoughts. As more the beholder is involved with his imagination into something, as more he would create something absolutely crazy and personal. 

In other words it is all about our perception of the world around.  What is weird to me might be the most common thing in the world for you and viceversa. 

To sum up, by the way, I think there is a level, the one where objects we know are set up in a very unexpected way, on which we are all strangers and lost, on which that uncanny feeling is in control of everything, just because we don't have the right answer to explain whatever is going on.

A: Would you like to have a coffee with me in my teapot? 

B: Of course! Shall i bring a ladder?

C: Of course not! There's a door.