By Tonino Griffero
Initially released in Italian in 2010, this booklet is the 1st to handle the idea of atmospheres in a radical and systematic approach. It examines the function of atmospheres in way of life, and defines their major features. Outlining the common phenomenological events within which we adventure atmospheres, it assesses their influence on modern aesthetics. It places ahead a philosophical method which systematises a constellation of impacts and climates, reveals styles within the emotional tones of alternative areas (affordances) and assesses their influence at the felt physique. It additionally significantly discusses the spatial flip invoked by means of numerous of the social sciences, and argues that there's a desire for a non-psychologistic rethinking of the philosophy of feelings. It presents a background of the time period 'atmosphere' and of the techniques expecting its which means (genius loci, air of mystery, Stimmung, numinous, emotional layout and ambiance), and examines the most ontological features of atmospheres and their valuable phenomenological features. It concludes via exhibiting how atmospheres impact our feelings, bodies' reactions, our mind set and, therefore, our behaviour and judgments. Griffero assesses how atmospheres are more beneficial than we have now been rationally prepared to confess, and to what volume conventional aesthetics, unilaterally orientated in the direction of paintings, has underestimated this fact.
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Extra resources for Atmospheres: Aesthetics of Emotional Spaces
E. 77 The hypothesis is therefore that atmospheric impression enjoys the same priority that is normally (besides, maybe precisely by the virtue of an intrinsically positive atmosphere)78 attributed to the general figural moment with respect to its components: that is, to the wood, for instance, as perceived before the single trees. The hypothesis is, therefore, that some atmospheric value is perceived in the whole environment in which one finds oneself, much before the potential atmosphere of its single elements is perceived, and so much before one is able describe them analytically.
Bollnow 2004: 69, 302) 42 Atmospheres: Aesthetics of Emotional Spaces permeated from the inside by a certain mood, and is incline to transfer it also to the surrounding space – and here the concept of transferring can be used only in a provisional sense to clarify, for now, this immediate co-belonging and accordance. There is a mood in both human soul and a landscape or an enclosed internal space, and the two things are in principle only two aspects of one unitary being-tuned […] The mood itself is nothing subjective “in” man and nothing objective – as something that could be found “outside” in his environment – but it regards man in its yet undivided unity with his Umwelt.
103 But this is precisely because ‘all men overall feel these position-qualities, even though one feels good and another does not’ (ibid: 79). And here one can note104 at least a sketched distinction between an essence (in our sense, atmosphere) and a mood that does not necessarily correspond to it. The atmospheric is favoured by an afinalistic relation to space,105 by a ‘certain passivity and a vast availability’ (ibid: 71), if not even by a not excessively outlined personality. In Dürckheim, the atmospheric seems like a compromise solution – unfortunately largely relegated to the infantile and artistic sphere – between the lived sense immanent in the present space and the more or less contingent vital directions of the subject.