# Tonino Griffero (2019). *Is There Such a Thing as an “Atmospheric Turn”? Instead of an Introduction*. Switzerland: Palgrave Macmillan. > [!INFO] > Type:: [[&]] > Title:: Is There Such a Thing as an “Atmospheric Turn”? Instead of an Introduction > Author(s): [[Tonino Griffero]] > Year:: 2019 > Tags:: > DOI:: 10.1007/978-3-030-24942-7 > Citekey:: griffero_is_2019 > ZoteroURI:: [Open in Zotero: Is There Such a Thing as an “Atmospheric Turn”? Instead of an Introduction](zotero://select/items/@griffero_is_2019) > ReviewedDate:: [[2022-11-17]] ## Citation ```latex [@griffero_is_2019] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@griffero_is_2019]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation “humanistic fields that are not necessarily directly linked to the German philosophy of atmosphere: first of all, architecture and urban studies, which aim at clarifying and “measuring” (in a sense to be specified) how cities, buildings, streets, traffic and so on pathically modulate the felt-bodily ([[felt-body|leiblich]]) space of perceivers through sensory (not always conscious) experiences and therefore affectively influence how well or bad people live.” (Griffero, 2019, p. 12) “Turning now to the arts, the atmospheric approach seems especially useful for contemporary art, which compensates for the increasing fictionalisation-virtualisation of the world, increasingly inviting the spectator to a pathic-immersive experience of its works (which at times can even be touched, tapped, scratched on the surface, etc.).” (Griffero, 2019, p. 13) “But it is theatre, at least since Chekhov’s reflections (1953) about the atmospheric link between stage and audience, that has long been the readiest and most multimodal model for an aesthetics of atmosphere.1” (Griffero, 2019, p. 13) > "요약하자면, 인문학은 보이지 않는 효과가 눈에 보이는 원인에 비해 불균형적으로 보일 때, 그리고 경험하는 모호하고 질적인 '그 이상의 것'에 주목할 필요가 있을 때, 즉 구체적인 물질적 실재보다 나타나는 현실의 표현적 질과 현상적 뉘앙스에 더 집중해야 할 때 분위기라는 개념을 경험적 연구를 위한 휴리스틱 장치로 사용한다고 말할 수 있습니다." > > “In summary, it is possible to state that the humanities use the notion of atmosphere as an heuristic device to empirically research affects whenever an invisible effect seems disproportionate as compared with its visible causes and it proves necessary to pay attention to the vague and qualitative “something-more” that one experiences—in short, when it is necessary to focus more on expressive qualia and phenomenal nuances of appearing reality than on the detailed material reality.” (Griffero, 2019, p. 15) > "새로운 것은 분명히 정동에 대한 스피노자-들뢰즈주의적 해석(유비쿼터스 신체 강도에 의해서만 표현되는 힘으로 보는)이 두 가지 변종(과정 형이상학과 생활 행동주의)을 통해 소위 모든 정동 연구에서 악명 높았던 것보다 대기 '담론'이 인문 문화의 광범위한 분야를 통해 일반화되고 더 쉽게 적용되었다는 점입니다." > > “What is new is surely the extent to which the atmospheric “discourse” has become generalised through wide sectors of humanistic culture and applied more easily than the Spinozist-Deleuzian interpretation of affect (which sees it as a force expressed only by ubiquitous bodily intensities), which through its two variants (process-metaphysics and lifestyle activism) has notoriously resulted in all the so-called affect studies” (Griffero, 2019, p. 16) Before answering to this objection I would stress that there are, for me, basically two options. - 첫 번째는 슈미츠와 텔렌바흐가 대기를 조명하기 이전에도 대기는 항상 존재해 왔으며, 이를 통해 혼란스러웠던 의미 영역을 명확히 하고 특히 새로운 조사 분야를 구축했다는 것입니다. - 두 번째는 지금까지 암묵적으로만 남아 있던 현상이 오늘날의 경제-정치적 상황(후기 자본주의, 이미지 및 정보 기반 경제)에 의해 완전히 가능해졌다는 점입니다. ### “Benjamin’s “aura”” (Griffero, 2019, p. 20) ### “Léon Daudet’s ambiance” (Griffero, 2019, p. 20) ### “Rudolf Otto’s “numinous” and Georg Simmel’s notion of Stimmung” (Griffero, 2019, p. 21) ### “Otto Baensch’s theory of feelings” (Griffero, 2019, p. 21) “works of art do not only express but rather “have” outside, in a sense, thus influencing one’s perception and thought and even, in the form of atmospheres of feeling, many historical facts” (Griffero, 2019, p. 21) > 이 원리는 개인이나 사물에 구현됩니다. 그것은 동요의 시대에 개인의 의식을 지배하는 집단 의식과 다소 비슷합니다. 그것이 설명의 원리이든 아니든, 어쨌든 그것이 발산되는 집단과 접촉할 때 우리가 예리하게 느끼는 것은 현실입니다. 우리는 어두운 숲에서 거의 같은 경험을 합니다. 개별 그림자는 그늘의 결과가 아니라 반대로 그림자가 잎이 무성한 정상과 덤불의 얽힘과 함께 전체 식물 덩어리를 축축한 신비로움 속에서 만들어내는 것처럼 보입니다. 숲은 나무를 보지 못하게 하고 숲 자체는 대기를 통해서만 볼 수 있습니다. [[@dufrenne_phenomenology_1989]], 168 > > less a world than the atmosphere of a world, in the sense that we say an atmosphere is tense or lively. Thus it is a matter of a certain quality of objects or of beings, but a quality which does not belong to them in their own right, since it is not they that bring it about. The quality in question is like a supervening or impersonal principle in accordance with which we say that there is an electric atmosphere or, as Trenet sang, that there is joy in the air. This principle is embodied in individuals or in things. It is somewhat like the collective consciousness which governs individual consciousness in times of agitation. Whether or not it is a principle of explanation, it is at any rate a reality that we feel keenly when we come into contact with the group from which it emanates. We have much the same experience in a dark forest. It seems to us that individual shadows are not the result of shade, but, on the contrary, that the shadows create the leafy summits and the entanglement of underbrush along with the entire vegetable mass in its damp mystery. The forest prevents us from seeing the tree, and the forest itself is seen only through its atmosphere. [[@dufrenne_phenomenology_1989]], 168 > This atmospheric turn is ontologically quite ambitious, and not only because it considers the neuroscientific and culturalist approach unable to explain the depth of emotional life.50 It gives feelings a central role in everyday life, thus starting a campaign of radical de-psychologisation of emotional life. ### Related ```dataview LIST FROM [[@griffero_is_2019]] and -"Plans" and -"resources" ```