Abstract
In this chapter the author asks whether the theme of atmosphere is only a short-term cultural trend or whether it hides something deeper concerning our lives as human beings. Griffero notices that the humanities use the notion of atmosphere as a heuristic device to empirically research affects whenever it is necessary to pay attention to the vague and qualitative “something-more” that one experiences. He then traces a history of the emergence of the concept of “atmosphere”. Lastly, he sums up his personal “atmospherological” perspective on the topic.
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Notes
- 1.
The term comes from the Greek (ἀτμός=vapour and σφαῖρα=sphere). In meteorology, it denotes the gaseous envelope surrounding our planet and only in the eighteenth century it began to metaphorically indicate “the conditions under which real or imaginary life might flourish” (Gandy 2017, 355).
- 2.
After Schmitz and Böhme (cf. infra §4), the main philosophers who have dealt with atmospheres include Hauskeller (1995, 2002), Hasse (2005), Griffero and Somaini (2006), Landweer (2007), Griffero (2010, 2013, 2016a, 2019b), Graupner et al. (2010), Blum (2010), Goetz and Graupner (2007, 2012), Debus and Posner (2007), Andermann and Eberlein (2011), Rauh (2012, 2018b), Rappe (2012), Heibach (2012), Tedeschini (2014), Diaconu and Copoeru (2014), Bulka (2015), Brünner (2015), Griffero and Moretti (2018).
- 3.
- 4.
- 5.
At least since Milgram (1974).
- 6.
- 7.
- 8.
- 9.
- 10.
- 11.
- 12.
Starting from Turner’s saying “Atmosphere is my style” (extra-thing phenomena, intermittent apparitions, ephemeral effects like bright installations and land art, etc.).
- 13.
- 14.
- 15.
For a new phenomenology-based approach to lyrics, see Meyer-Sickendiek (2012).
- 16.
- 17.
- 18.
- 19.
- 20.
- 21.
- 22.
- 23.
At least from De Rivera (1992) on.
- 24.
- 25.
- 26.
- 27.
- 28.
- 29.
For some arguments in favour of the latter, see Slaby (2018, 78–79).
- 30.
First timidly (Schmitz 1965, 40–41) and then, from 1969 on, clearly and thematically more effectively.
- 31.
The soft yet buck-passing version of this claim is the catch-all theory of co-evolutionary dynamics of language-culture and body-affectivity.
- 32.
- 33.
- 34.
Obviously starting not ex nihilo but from twentieth century’s philosophy of affect in its hermeneutical (Dilthey), fundamental-ontological (Heidegger), psychological (Geiger) and anthropological (Bollnow) variants.
- 35.
In belittling and not completely acceptable terms Henckmann (2007, 76) says that the theory of atmosphere is nothing but one of superfluous needs of our affluent society.
- 36.
Schützeichel (2015, 61) calls it an “implicit turn”.
- 37.
Henckmann (2007, 76, 80) claims that today’s obscurantist interest in atmospheres, defined as a “swarm of unreal ghosts” (!) produced through a dangerous game, exactly proves that their cultural removal was and is the healthy means to the self-preservation of humankind.
- 38.
Cf. Pfaller and Wiesse (2018) for a recent report on this “revival”.
- 39.
It could also be argued, ironically, that an increasingly refined cognitivist approach also brings to attention its blind spots, in this case the affective sphere. See Parkinson et al. (1996, 23–24).
- 40.
- 41.
Even a non-pathic author like Adorno recognises that something auratic-ephemeral beyond the artwork’s elements and factual reality is “an objective determination of the artwork” and should be conserved even in non-atmospheric works “as a negated and shunned element” (Adorno 1970, 274).
- 42.
For an outdoor atmosphere, for example, is it really enough to talk (as Tucker Cross 2004, 30, does) about attachment, outdoor enjoyment, aesthetics, sustainability, social interaction?
- 43.
Which are certainly not the only ones having cognitive value within a non-intellectualistic cognitivism: suffice it to think what Solomon (2003, 16) calls “judgements of the body”, not to mention Heidegger’s overlapping of affective situation and understanding.
- 44.
The climatic acts as a paradigmatic example of any climated feeling (at least before it was domesticated in measurable meteorological terms) because of its widespread holistic nature as well as the affective qualified pressure it exerts (Henckmann 2007, 48–49). For an overview of the literature on political ecology of atmosphere and air, even as a marker of socio-spatial difference, cf. Gandy (2017).
- 45.
Thanks to a mythical perception “whatever is seen or felt is surrounded by a special atmosphere—an atmosphere of joy or grief, of anguish, of excitement, of exultation or depression” (Cassirer 1944, 102–103; my italics).
- 46.
For the still little-explored feeling of persuasiveness which the syllogistic so-called atmospheric effect is based on cf. Woodworth and Sells (1935).
- 47.
The best semantic analysis of the notion is maybe contained in Rauh (2012, 133–157).
- 48.
- 49.
- 50.
As even neuroscience- and evolution-oriented authors have to recognise: see Ciompi and Endert (2011, 36).
- 51.
This is true, although it should be recognised that distinguishing an atmosphere from one’s own mood necessarily also presupposes a process of socialisation; social situations and atmospheres are intrinsically linked, according to models like the hermeneutic circle or Weizsäcker’s Gestaltkreis (Julmi 2018b, 119–120).
- 52.
- 53.
- 54.
Tellenbach’s claim (1968, 47) that inorganic entities could radiate an atmosphere only if linking to a “human factor” seems questionable to me.
- 55.
Starting from the feeling (perplexity and derealisation) that precedes (precisely like an atmospheric clouding) or accompanies the development of schizophrenic delusions.
- 56.
Tellenbach explores some pathological pre-psychotic Erlebnisse of the oral sense: from the less serious disorders (decrease in taste and smell intensity) to the much more severe ones (receptive disorders), when “the atmospheric can no longer affectively pervade the individual” (Tellenbach 1968, 127), resulting in a loss of smell receptivity (Entstimmung) or a despondency caused by one’s own (even only alleged) bad smell (Verstimmung).
- 57.
See Schmitz (2019).
- 58.
- 59.
A very similar but fully independent (polytheistic) view is held by Dreyfus and Kelly (2011).
- 60.
It follows that nobody can then explain how, from this alleged inner-private psychical world, they could get out and acquire a reliable knowledge of the external world.
- 61.
A very naïve idea (Krebs 2018, 248–249), whose more sophisticated version aims at explaining apparent external feelings as a wrong interpretation, that is, through a quasi-Fichtean projectivist theory as a kind of feedback coming from a previous and unconscious projection (emotional, in this case) (Bulka 2015, 291), or, at least, as the posthumous effect of a forgotten intersubjective feeling.
- 62.
- 63.
For an aesthetic approach that is relatively independent of Böhme and at least partly anti-projectivistic, see also Seel (1996, 2005). For him there are three (co-existing but also potentially conflicting) kinds of aesthetic appearance (mere appearance, atmospheric appearance, artistic appearance) and, as a consequence, three kinds of perception (atmospheric-corresponsive awareness would be intermediate between the purely contemplative one and the strictly artistic one). For him, atmosphere is not an ineffable quasi-thing, but a “character” that objects and styles do not express but rather “have”, in other words, “a sensuously and affectionally perceptible (and, in this respect, existentially significant) articulation of realised or nonrealised life possibilities” (Seel 2005, 92; my emphasis). In my view, this “corresponsive” modality, understood as perceiving a “temporary shape to our life”, risks relativistically circumscribing itself to a conscious existential affinity, maybe too much derived—despite Seel’s rightly insistence on presentness—from biography-, culture- and imagination-conditioned situations.
- 64.
An atmospherologic economy should maybe start by analysing how the atmosphere of faith sometimes, through self-fulfilling prophecies, has more economic impact than financial data.
- 65.
“What is created in the networks of affective labor is a form-of-life […] Labor works directly on the affects; it produces subjectivity, it produces society, it produces life. Affective labor, in this sense, is ontological” (Hardt 1999, 98–99).
- 66.
The only seemingly crucial objection is that one always perceives a particular quality (a tension) rather than the quality of something universal (a tense atmosphere) (Henckmann 2007, 55–56). I find it a little superfluous. There would be nothing strange in saying that one, for example, sees a colour rather than seeing red (it depends on the kind of question); nobody, however, would say they feel an atmosphere, full stop, unless, as already mentioned, they want to express something else, namely, something intrinsically positive.
- 67.
Like the one according to which, fortunately, the “generation of atmospheres does not (yet) work too good” (Henckmann 2007, 81), or “there is, after all, a vanishingly small distance between rising as one with the crowd at a baseball game and rising as one with the crowd at a Hitler rally” (Dreyfus and Kelly 2011, 241).
- 68.
“Atmospheres are involved wherever something is being staged, wherever design is a factor—and that now means: almost everywhere” (Böhme 2017a, 29). The risk that in a cultural differentiated world this global atmosphere could also work as an anaesthetising superlanguage must not yet be forgotten (Knodt1994, 39–69; 2017).
- 69.
Which is, not by chance, the only concept present in Barck’s dictionary (cf. Wellbery2003).
- 70.
His stigmatisation, however, (a) is partially conflicting with the—elsewhere recognised—capability of cultivating atmospheres in a closed space in a non-manipulative way, (b) wrongly downgrades the rhetorical coté of the aesthetic tradition and, finally, (c) implies an axiology that does not clearly distinguish between fake and simply bad atmospheres.
- 71.
“All making conscious means destroying, altering in each case, whereas in awakening an attunement we are concerned to let this attunement be as it is, as this attunement” (Heidegger1929–30, 65).
- 72.
Bollnow (1941, 59, 132, 140, 152–153). The kitsch-person would be anyone who intentionally generates Stimmungen for themselves or for others (Giesz 1971, 44). The risk of designing (and perceiving) an atmosphere only as cosiness (Gemütlichkeit) and thus bordering on kitsch always needs to be kept in mind.
- 73.
Which does not rule out other possible distinctions, based, for example, on different intensity and duration. But every distinction, for example, Bulka’s one among things-driven, space-bound and scenery-immanent atmospheres (Bulka 2015, 332), Meyer-Sickendiek’s one (2012, 40–41, 75–76) among existential, atmospheric and social situations (as well as among latent, foregrounding and atmospheric Stimmungen) and also Hasse’s one (2014, 235–237)—atmospheres not plannable through human action, those that are a product of social processes and lastly those which are media of felt-bodily communication—gains in credibility for me only when it’s understood as an affective continuum.
- 74.
Learning a lot from the discussion on Stimmungen as feeling without objectual focus; also, atmospherology limits as much as possible the dependence of feelings on different intentional contents or formal objects. Schmitz does not make only a distinction between non-directional atmospheric feelings (pure excitements like joy or sadness, nostalgia or the spring mood) and directional ones (either all-directional or centripetal/centrifugal), but especially, using Metzger’sgestalt-psychologicalterms (Metzger 1941), shows that what appears to be their intentional object is rather only the sphere of condensation of that feeling, probably separate from their real anchoring point (their real generative location). Even without overlooking the anti-interioristic value of these suggestions (on which see Landweer 2011), it may be best for atmospherology to consider intentionality in a non-mentalistic sense, that is, not as an inner representation of the world but as a necessary openness to it (see Slaby 2011, 24), in other words, in the anonymous “operative” (as a taking part) rather than “acting” sense, as Merleau-Ponty (1945) claims.
- 75.
I am sensitive here to the need of avoiding monocausal explanations, and I am ready to admit that ephemeral and occasional atmospheres can get condensed into stable and prototypic ones (and vice versa) and so on.
- 76.
Which are obviously easier to perceive than the more diffuse ones insofar as they normally overturn some previous (affective) situation.
- 77.
There are some contact points with the psychological theory of “ambient vision”, based on immediacy, superficiality, pre-attentive character and feeling rather than understanding (Ohno 2000, 151–152).
- 78.
See Otto (1917), to which Schmitz also often refers.
- 79.
Only a strictly reistic thinker can claim and hope that atmospheric affordances may “disappear as a swarm of unsubstantial ghosts” (Henckmann 2007, 76).
- 80.
For Schmitz (1998, 178), yet, not all situations are atmospheric.
- 81.
Schmitz freely develops this idea following, among others, Scheler and Binswanger. An interesting idea needing further reflection, however, is that atmosphericness, usually based on a certain stadium within this continuum between extreme poles, might no longer exist when it reaches them.
- 82.
- 83.
Krebs (2018, 252–255) proposes to think of an (aesthetic) resonance in terms of sympathy, flow and feeling of being at home maybe repeats the (deeply humanistic?) mistake of axiologising (harmonicity, beauty, etc.) the notion of atmosphere (as well as mood). I have tried to prevent this here, also by only using concepts in a literal sense (landscape, for instance, only means a natural landscape) (cf. Krebs2018, 262, fn. 16).
- 84.
- 85.
In my view, this “dominance” dimension seems to be doubtless even when an atmosphere acts only as a background and not as a figure (contra Schönhammer2018, 158).
- 86.
Otherwise how could one explain the binding authority, for instance, of a sultry summer evening?
- 87.
This means that the atmospheric feelings inherently endowed with greater authority (which I call prototypic) necessarily prevail.
- 88.
- 89.
Hasse (2014, 233).
- 90.
Which recalls the Japanese ki: cf., among others, Hisayama (2014).
- 91.
- 92.
For more details, see Griffero (2010, 129–141).
- 93.
Given that its certainty and the resulting dualism always derive from the original experience more of a resistance than an incentive. It is the opposite for Bollnow (1941, 112–130), who considers our trust in reality as a primary given (although mostly unaware).
- 94.
The happily atmospherised person is more inclined, obviously, to seek happy atmospheric situations and to forget about the others.
- 95.
Cf. Musil (1943, 1277): “emotions cannot be stopped: nor can they be looked at ‘under the microscope’. This means that the more closely we observe them, the less we know what it is we feel. Attention is already a change in the emotion”.
- 96.
- 97.
It is what Geiger (1911) calls “a purely contemplative attitude”.
- 98.
Which already implies perhaps a shift from the first-person to the third-person perspective.
- 99.
Baensch (1923, 9–10), for example, claims that, since the burst of an objective feeling always implies a partial involvement, what happens is a conflict between two different forces, both inside (involvement and opposition) and outside (objective feeling and objectified rejection).
- 100.
One may speak of effervescence (or “self-transcendence”) of the qualities that could be improperly labelled as an atmosphere’s “components”.
- 101.
For this inverted correspondence, cf. Seel (1996, 101–102).
- 102.
Its immediacy does not exclude that it can emerge in a quick but more gradual way, like an “unexpected” but not necessarily weaker “infiltration” (Schmitz2002, 73).
- 103.
A crucial but unfortunately still rarely investigated subject.
- 104.
Where nearly every object can become the apparent intentional object of a certain feeling. See Conrad (1958).
- 105.
Recall later Heidegger’s kind of boredom, felt only after a pleasant dinner and which this dinner is evidently the cause of.
- 106.
They express moods and do not merely represent them. See Krebs (2018, 246).
- 107.
- 108.
It is surely more justified to claim that new phenomenology omits any social and gender difference (female atmospheric perception would be a special case!), universalising something that only applies to the European cultural context.
- 109.
Slaby (2008, 179), for example, explains neutral moods as ill feelings.
- 110.
The same misunderstanding also played a role in the (originally musical) notion of Stimmung, wrongly understood in (unjustified) terms of strictly harmonious resonance.
- 111.
- 112.
For a description of the “late-modern atmospheric subject”, caught between abstract scientific expertise and lifewordly bodily experiences, see Whitehead (1979, 225).
- 113.
Inexplicably, Krebs (2018, 252) does not consider being infected, for example, by a peaceful landscape as an aesthetic experience.
- 114.
According to which “the will to power is not a being, not a becoming, but as a pathos is the most elementary fact from which a becoming and effecting first emerge” (Nietzsche1988, 259).
- 115.
- 116.
As known, Loos defines as “a Potemkin village” a town that is nothing but atmosphere.
- 117.
This explains the topophilia somehow implicit in every theory of atmospheres!
- 118.
It’s hard to understand why Krebs (2018, 247–248) confines the everyday atmospheric (or mood-inducing) experience of an unseparated unity of self and world only to babies and some animals, given that this experience neither excludes the possibility to question “how” moods and atmospheres permeate spaces, nor means to consider atmospheric spaces as somehow sentient.
- 119.
For the differences between these two approaches, see Scheve, Berg (2018, 36–37).
- 120.
Which really stands out from the slightly anonymous “theoretical constellations that share an interest in complex entanglements between space and subjectivity” which Gandy (2017, 368) refers to.
- 121.
The association, if anything, comes after and it is certainly not arbitrary, given that only the atmosphere makes that reference possible (Hauskeller1995, 139).
- 122.
Hauskeller provides a more sophisticated “sociological” explanation of this externality: the objectual immanence of expressive characters would be due to their “huge social invariance”, so that the contrast between personal feeling and perceived atmosphere would coincide with the difference between “different levels of subjectivity”, particularly between how one should feel something and how one really feels it (Hauskeller1995, 29–30, 45–46).
- 123.
A position later mitigated by stating that atmospheres only have a quasi-thingly nature (Schmitz2014, 9).
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Griffero, T. (2019). Is There Such a Thing as an “Atmospheric Turn”? Instead of an Introduction. In: Griffero, T., Tedeschini, M. (eds) Atmosphere and Aesthetics. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-24942-7_2
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