Postmodern Uncanny

I have put my penchant for Internet shopping to good use and purchased a back copy of the literary journal Paradoxa .
Volume 3 from 1997 was entirely dedicated to The Uncanny and contains over 20 academic papers on the relationship between postmodern culture, the arts and the uncanny.
Here is what Michael Arnzen (University of Oregon) says about the postmodern uncanny in his introduction to the journal;
Modernity and postmodernity share different, yet similar anxieties - the uncanny gives us a way of thinmking about the interrelationship of both; the doppelganger and the automaton haunted the moderns, for example, while clones and technohuman cyborgs haunt us today.
I am interested in this comment because it connects to, and echoes, my own theory concerning the relationship between postmodern cultural anxiety and the aesthetics of the uncanny in visual art. Arnzen goes on to say;
....the disruption which the uncanny signals (a disruption of time; a fracturing, splitting, ('cleaving' Stewart might say!)or doubling of subjectivity; a deconstructive repetition-with-a-difference) resonates deeply with contemporary philosophers....... Anthony Vidler believes that the 'self-conscious ironization of modernism by postmodernism' has construed a a 'postmodern uncanny'.
I firmly believe this too. Arnzens article was written 9 years ago before the turn of the millenium when levels of cultural anxiety were definitely heightened. However, I believe our (western) collective, and cultural anxiety, is continuing to rise; fuelled by issues such as terrorism, George Bush, global warming, new diseases, global epidemics and so on. Issues which are further inflamed by sensationalist media reporting and the rapid global distribution of footage and digital imagery on levels with explicit content as never seen before.
In my next posting I shall place edited exerpts from the dialogue between myself and my mentor Dale Cochrane concerning this cultural context.