"Starting with modernity, we have entered an era of production of the Other. It is no longer a question of killing, of devouring or seducing the Other, of facing him, of competing with him, of loving or hating the Other. It is first of all a matter of producing the Other. The Other is no longer an object of passion but an object of production." Jean Baudrillard
"The void which opens up in the realm of the Mothers is the emptiness of the abject. Kristeva describes it as that position in the psychogeography of the individual in which neither subject nor object exist but rather the pure movement of splitting, the very creation of positionality itself." Helga Geyer-Ryan
The uncanny moment of accounting (of bringing to terms, of "adding up") for all terms of a series, can never be reached--that is precisely the moment of the splitting of the uncanny from the sublime. The incalculabilities of the sublime must of necessity in any system change registers to another 'system' of accounting procedures (which must more properly be called a-counting, as in a-nomos, or an irregularity or exception in the law). The linear checks and balances (which the sublime always runs past the available margins) no longer seems to be a stable place-holding system ('system' always implying overt articulation, the possiblity of the extension of that articulation to arenas not presently under consideration, and the concomitant necessity to convert everything into articulable elements; while over-articulation produces the sublime, so too does under-articulation--not the uncanny--both being moments along a register of accounting and, eventually, production. The uncanny is not a telos for production, as is the sublime, but a Something Else which begins to manifest in modernist society, a component of which is unassimilable trauma, a wounding which cannot be 'accounted' for. However this is not to reduce the uncanny to a psychoananlytic moment, rather the reverse. As Mladen Dolar has it, "Psychoanalysis was the first to point out systematically the uncanny dimension pertaining to the very project of modernity, not in order to make it disappear, but in order to maintain it, to hold it open...what is currently called postmodernism [...] is a new consciousness about the uncanny as a fundamental dimension of modernity. It doesnıt imply a going beyond the modern, but rather an awareness of its internal limit, its split, which was there from the outset." [October 58, "I shall be with you on Your Wedding-Night": Lacan and the Uncanny²])
More particularly, the arrival (and dominance) of the spectacular uncanny in modernism can be specifically attibuted to the discoveryı by western explorers of the various others that that have since come to haunt western discourse (if not technique). The "western world" has from the beginning been defined by its (largely unavowed) relations with its conquered/converted others, whether Moorish, jewish, African, or tribal (any of the Americas).
And more specific still, since all the above examples can be held at arms length by cultural considerations, the arrival of feminist discourse epitomizes the nature of the uncanny, arriving imminently, in the midst of. The central placement of the feminine in the uncanny was of course not lost on Freud but who converted it into a species of vagina dentata, thereby confirming yet another western male attempt by an assimilated (jewish) other to impound the uncanny and put it to work, to some productive use value, perhaps the number one marker for western ethics/aesthetics/economy etc. The psychoanalytic impounding is another attempt at creating technique for the production of labor intensive activity, a labor and fecunditiy crudely approximating that of the Original Female and working ever since to displace, delete, and virtual that Garden.