# Lorenzo Marinucci (2019). *Japanese Atmospheres: Of Sky, Wind and Breathing*. Switzerland: Palgrave Macmillan. > [!INFO] > Type:: [[chapter]] > Title:: Japanese Atmospheres: Of Sky, Wind and Breathing > Author(s): [[Lorenzo Marinucci]] > Year:: 2019 > Tags:: > DOI:: 10.1007/978-3-030-24942-7 > Citekey:: marinucci_japanese_2019 > ZoteroURI:: [Open in Zotero: Japanese Atmospheres: Of Sky, Wind and Breathing](zotero://select/items/@marinucci_japanese_2019) > ReviewedDate:: [[2022-12-22]] ## Citation ```latex [@marinucci_japanese_2019] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@marinucci_japanese_2019]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation > "슈미츠는 기원전 4세기 그리스 사상에서 발생한 "심령의 내면화"(슈미츠 2011, 247)가 어떻게 느껴지는 신체와 확산되는 병적이고 불안정한 대기의 차원을 극적으로 지우는 것이었는지를 비난합니다." (Marinucci, 2019, 94쪽) "실제로 이러한 플라톤-민주주의적 전환에서 비롯된 존재론은 가시적 형태에 대한 선호, 주관과 객관 사이의 급격한 분리, 그리고 경험의 느낌적 신체 요소의 '분쇄'를 통해 여러 의미에서 여전히 철학적 및 과학적 사고의 지배적인 패러다임으로 자리 잡고 있습니다. 이러한 변화가 어떻게 일반적으로 "서구적 사고 형식"으로 분류되는 것을 (분명히 어느 정도 단순화하여) 구성하는지 인식하지 못하는 것은 어렵지 않습니다." (마리누치, 2019, 94쪽) > > “Schmitz denounces how the “interiorization of the psychic” (Schmitz 2011, 247) occurring in Greek thought during the fourth century BC was the first dramatic erasure of the felt body and the diffuse pathic, unstable dimension of atmospheres.” (Marinucci, 2019, p. 94) “And, indeed, the ontology arising from this Platonic-Democritean shift, with its largely unexamined preference for visible forms, the sharp separation between subjective and objective and its “grinding down” of the felt-bodily elements of experience, is in many senses still the dominant paradigm for philosophical and scientific thought. It is hard not to recognize how this shift constitutes what is normally labelled (obviously with a degree of simplification) as “Western thought form”.” (Marinucci, 2019, p. 94) > "예를 들어, 슈미츠가 그리스 사상과 관련하여 설명한 공기와 대기의 소멸은 중일 문화권에서는 결코 일어나지 않았습니다. 과정, 형태가 없는 것, 보이지 않는 것은 모두 중국과 일본 문화가 역사를 통해 다른 관점에서 큰 관심을 가지고 고려해온 현실의 요소입니다." > > “For instance, the effacement of air and atmosphere described by Schmitz in relation to Greek thought never happened in the Sino-Japanese cultural nexus. Process, flow, the shapeless and the unseen are all elements of reality that Chinese and Japanese cultures have, instead, considered with great attention and in different perspectives throughout their history.” (Marinucci, 2019, p. 95) 중일 사상의 어휘를 처음부터 관찰하면 '대기'에 대한 전근대적인 개념이 하나도 없다는 것을 알 수 있지만, 중국과 일본의 종교, 예술적 수행, 의학 및 신체 수련에서 가장 근본적인 세 가지 개념은 모두 공기와 대기 경험을 직접적으로 언급하고 있습니다. > "이 둘은 하나의 체계를 구성하는 것이 아니라, 각각이 다른 두 가지와 개념적으로 겹치는 부분이 분명하기 때문에 슈미츠가 "혼돈의 다양체"라고 부르는 결과를 낳습니다." > > “They do not constitute a system: each one of them has definite conceptual overlaps with the other two, resulting in what Schmitz would call a “chaotic manifold”.” (Marinucci, 2019, p. 96) ### Sky > “If we compare Daoist emptiness with that of Indian Buddhism, we can see how in a Chinese context the stress shifts on a non-abstract, nonmetaphysical understanding of formlessness: in the examples above the empty space constituting the “utility” or “efficiency”” (Marinucci, 2019, p. 98) “Despite its own complex relation to Daoism, Chan/Zen integrated this double heritage, with the religious emptying of Buddhism on one side and the atmospheric cosmology of qi on the other, forming what can be described as an existential-performative approach to emptiness qua atmosphere.” (Marinucci, 2019, p. 98) # Annotations (03/03/2024, 14:24:28) “Schmitz denounces how the “interiorization of the psychic” (Schmitz 2011, 247) occurring in Greek thought during the fourth century BC was the !rst dramatic erasure of the felt body and the diffuse pathic, unstable dimension of atmospheres.” (Marinucci, 2019, p. 94) “And, indeed, the ontology arising from this PlatonicDemocritean shift, with its largely unexamined preference for visible forms, the sharp separation between subjective and objective and its “grinding down” of the felt-bodily elements of experience, is in many senses still the dominant paradigm for philosophical and scienti!c thought. It is hard not to recognize how this shift constitutes what is normally labelled (obviously with a degree of simpli!cation) as “Western thought form”.” (Marinucci, 2019, p. 94) “Lacking any stable or independent identity, never being in itself but always manifesting itself through and with other things (we can say negatively and transcendentally), they are the traditional unthought of European philosophy: discovering air and atmospheres as philosophical themes means recognizing how post-Platonic Greek and Greek-based thought are not automatically the best perspective to reach out at the whole world of phenomena.” (Marinucci, 2019, p. 94) “For instance, the effacement of air and atmosphere described by Schmitz in relation to Greek thought never happened in the Sino-Japanese cultural nexus. Process, "ow, the shapeless and the unseen are all elements of reality that Chinese and Japanese cultures have, instead, considered with great attention and in different perspectives throughout their history.” (Marinucci, 2019, p. 95) “They do not constitute a system: each one of them has de!nite conceptual overlaps with the other two, resulting in what Schmitz would call a “chaotic manifold”.” (Marinucci, 2019, p. 96) “while different from the notions of 無 wu “non-being” and 㲊 xu “hollow” widely employed in Daoism, was unavoidably in"uenced by this earlier Chinese takes on “emptiness”. Wu and xu were used in early Daoism to describe the formless, non-thematic dimension that allows things and processes to emerge without ever turning itself into one: while ineffable, the term “way” (dao) is also used to refer to this primal state.” (Marinucci, 2019, p. 97) “Thirty spokes join the wheel nave And make of void and form a pair, And a wagon’s put to use. Clay is thrown to shape a vase And make of void and form a pair, And a vessel’s put to use. Door and window vent a room And make of void and form a pair, And a room is put to use. Thus the value of what is Depends for use on what is not. (tr. Moss 2001, 51; the Chinese on the right follows Moss’ versi!cation)” (Marinucci, 2019, p. 97) 서른개의 바큇살이 하나의 바퀴머리에 모인다. 그 바퀴머리의 빔에 수레의 쓰임이 있다. 찰흙을 빚어 그릇을 만든다. 그 그릇의 빔에 그릇의 쓰임이 있다. 문과 창을 뚫어 방을 만든다. 그 방의 빔에 방의 쓰임이 있다. 그러므로 있음의 이로움은 없음의 쓰임이 있기 때문이다. “Chinese context the stress shifts on a non-abstract, nonmetaphysical understanding of formlessness: in the examples above the empty space constituting the “utility” or “ef!ciency”” (Marinucci, 2019, p. 98) “Despite its own complex relation to Daoism, Chan/Zen integrated this double heritage, with the religious emptying of Buddhism on one side and the atmospheric cosmology of qi on the other, forming what can be described as an existential-performative approach to emptiness qua atmosphere.” (Marinucci, 2019, p. 98) “A smile or a gaze are not the external manifestation of an internal content that could, even ideally, be turned into concepts: they are quasi-things, the modalities in which distinct subjectivities permeate each other in a common atmospheric space.” (Marinucci, 2019, p. 99) “Earlier I used the word “image”, but actually the empty sky visible to the eye has no form, and, in a strict sense, one cannot say” (Marinucci, 2019, p. 100) “it is a !gure or image.” (Marinucci, 2019, p. 101) “This non-difference between the phenomenal sky and the understanding of a fundamental level of reality is strikingly close to the famous remark by Goethe in the Theory of Colours about the way in which the ultimate identity of facts and theory can be recognized in the sky blue.” (Marinucci, 2019, p. 101) “The sky as atmospheric image (or image of the atmospheric) is emptiness itself, and yet not opposed or other from the phenomenal.” (Marinucci, 2019, p. 101) “onnector soku ণ, which is used to describe a relation between two poles that are, at the same time, the same and totally other.” (Marinucci, 2019, p. 101) “Heart Sutra: 色ণ是空、空ণ是色” (Marinucci, 2019, p. 101) 반야심경, 물질적인 세계와 평등 무차별한 공(空)의 세계가 다르지 않음을 뜻함. 원문은 “색불이공공불이색(色不異空空不異色) 색즉시공공즉시색(色卽是空空卽是色)”이며, 이는 “색(물질적 현상)이 공과 다르지 않고 공이 색과 다르지 않으며, 색이 곧 공이요 공이 곧 색이다.”로 번역된다. “The word omoi, “thoughts”, has in premodern Japanese a distinct affective tone; it refers to the continuum of intellectual and affective involvement with the world.” (Marinucci, 2019, p. 102) “Rather than a private cogito, a self-suf!cient consciousness that is able to assert its ergo sum at the cost of forsaking a direct connection to the world, the Japanese omoi shows a total availability to “not being” itself, in the double sense of disappearing into things and of reaf!rming itself as “transfer of the sky into the space of the transient impermanence of the poet’s heart”” (Marinucci, 2019, p. 102) “The sense of “imaginary” included in the character 空 is therefore another distinctive element of this atmospheric compound.” (Marinucci, 2019, p. 102) “More recently, Griffero (2013, 11–14) developed an eightfold analysis of quasi-things starting from wind: in its paradoxical manifestation, wind is an all-common phenomenon that however manifests itself without a shape or a temporal continuity, never arising by itself but only appearing through and with other things (including our living bodies).” (Marinucci, 2019, p. 103) “Here, the phenomenal wind and the holy ghost are expressed by the same Greek word pneuma, recognizing a homeomorphism, if not a full identity, between the atmospheric force and a not-yet hypostasized divine presence” (Marinucci, 2019, p. 103) “more-than-metaphoric connection between air"ows and the “spiritual”, a lexical fossil in Greek and European philosophy.” (Marinucci, 2019, p. 103) “Wind is in this sense not a secondary event in a stabilized three-dimensional spatiality, but the opening up of a distinctive, emotively charged topology of places.” (Marinucci, 2019, p. 104) “Not only wind is used to express key aesthetic lemmata such as “style”, “landscape” or “feelings”, but in its mode of manifestation is recognized as a medial structure of the aesthetic in general, producing something that the modern philosopher of art Imamichi Tomonobu has called “aesthetics of wind” (kaze no bigaku)” (Marinucci, 2019, p. 105) “European notions of culture is invariably that of the earthen, the solid, the manipulable” (Marinucci, 2019, p. 106) “If fuષdo is a non-objective atmospheric dimension, hence milieu in a quasi-cosal sense, it does not exert a three-polar, mechanical causality in which a thing and its effect can be divided: as noted by Schmitz, the ef!cacy of the quasi-cosal is that of a pure action, in which force and effect coincide.” (Marinucci, 2019, p. 108) “While the !rst primary !eld of 空 kuષ is the religiousaesthetic and the notion of 風 fuષ is mostly connected to art, the idea and experience of ki is much more pervasive, referring to actual weather, air and breathing, to bodily states, to perceptual impressions, interpersonal relationships, emotive states, wilfulness and more.” (Marinucci, 2019, p. 108) “ki does carry a strong explanatory meaning, granted that it can be read as a phenomenological notion and not as a hypostasized substance” (Marinucci, 2019, p. 109) “As a quasithing, ki is hard to pin down to a propositional, self-identical concept.” (Marinucci, 2019, p. 109)  (Marinucci, 2019, p. 109) “whereas Chinese, Indian and Japanese worldviews all carry with themselves the mark of monsoon winds and their huge humidity, blurring the boundaries between subjects and objects, inside and outside, stable and "eeting (Watsuji 1961, 78).” (Marinucci, 2019, p. 109) “This love for and reliance on this “void space” or “exceeding white” (余白 yohaku), a recurring principle of Chinese and Japanese landscape painting, is therefore not simply based on a process of abstraction.” (Marinucci, 2019, p. 109) “qi/ki in Sino-Japanese painting is to be understood through this recognition of atmosphere as the essential aesthetic dynamic of spatial manifestation.” (Marinucci, 2019, p. 110) “This is not simply a metaphorical connection: in a cold morning, the same vapours shrouding far away mountains come in and outside of one’s own body as breath.” (Marinucci, 2019, p. 111) “The idea of ki is therefore particularly relevant since it not only suggests an attention for the hazy, "owing, non-objective aspects of phenomena, but because around it become possible a distinctively atmospheric view of the body and of emotions.” (Marinucci, 2019, p. 111) “Tellenbach was exposed to a paradigm of thought that not only highlighted the perceptual aspects of the atmospheric but also recognized the decisive role of this non-thematic medium for emotive and interpersonal life.” (Marinucci, 2019, p. 113) “This “atmospheric mind” is not an internal propriety of the ego, but a mobile relation of self-and-world and self-and-other, an aida (Kimura, in turn in"uenced by Watsuji).” (Marinucci, 2019, p. 113) “Stimmung” (Marinucci, 2019, p. 114) “Rather than being a simple afterthought or an (still laudable) attempt at philosophical decolonization, the status of atmospheres as something essentially “between” the self and the other, the I and the world, also calls for a connective, "uid model of identity and intercultural understanding.” (Marinucci, 2019, p. 116) “European metaphysics, could be freed also from the univocal sense of self-possession and stable identity projected on this “inside”, out of which the earthbound sense of culture as “rooting” depends.” (Marinucci, 2019, p. 116) ### Related ```dataview LIST FROM [[@marinucci_japanese_2019]] and -"Plans" and -"resources" ```