# Atmosphere’s relation to the Cinematic Projection [[@bruno_atmospheres_2022]] [[Giuliana Bruno|Bruno]]는 첫 시작을 Dibutades의 신화와 함께 시작한다. 보통 불빛의 그림자를 통해 lover의 얼굴을 그렸던 Dibutades보다 그 그림 위에 relief를 만든 Butades에 대한 이야기로 painting의 origin으로 이야기되는 이 신화에서 [[Giuliana Bruno|브루노]]는 빛을 통해 그리는 Dibutades, projector에 을 그림자보다 빛을 이야기의 중심으로 다시 끌어와 빛과 그림자는 중요한 위치에서 copy the lover’s face하는 역할을 한다. mimetic한 disegno가 아닌 projective love란 관점에서 이야기를 다시 풀어낸다. 이를 통해 direct relation to the projection by Dibutades shows direct expression and transmission of emotion, of love, of her desire to the outside as an environmental projection. The projection becomes a psychic configuration that takes places, an atmosphere. 이러한 projection으로의 이전은 Dibutades의 *disegno* (drawing or design)의 direct performance의 중요성도 부각된다. Projection에 대한 퍼포밍 속에서 그녀 스스로의 그림자도 그 안에 포함되는데 이는 카메라에 의한 이미지 painting과 projection에서의 빛의 gesture로도 expanding 될 수 있지 있으며 그를 통해서 mediation과 reflection 또한 can embrace the conversation of mediation of the light, gesturing movement, and finally spatialised atmospheric, 또한 이를 통해 브루노는 안과 밖, 빛과 어둠, private and public, 의 중간을 움직이는 moving place, site of imtermediation로서의 atmospheric로 challenge the restrictively exclusive to the vision on the moving image and projection practice. Thus, in the context of atmospheric mediation, the theories of cinema expands to the projection emerges as a "milieu of connective processes of movement", [@bruno_atmospheres_2022, 12] "as a network of dynamic, affecting, relational connections between subjects, objects, and space." [@bruno_atmospheres_2022, 13] - [!] 여기부턴 좀 책 내용 The atmospheric projection became possible through the projective screen and cultural changes in the understanding of ambiance across different fields such as science, architecture, and psychoanalysis. Bruno traces atmosphere of projection’s archaeological strata, cultural, environmental, scientific, and aesthetic notions of *medium* and excavate the root of *ambiance*. First of all, she suggests the meaning of *medium* is a term that can be related to the geometrical solid form, homogeneous stable while, following [[Michel Serres]], mixture indicates hybridity and fluidity, therefore, useful to see components and sensory mixture, even further, as a milieu. She simultaneously approaches both light and film, one related to spatiality and the other to permiation. In the latin, medium has "a twofold spatial reference: the midpoint of an object, and the intermediate point(region, substance) between two or more objects." [spitzer_milieu_1942, 36] through which the ambient medium, permeated by light, passes. This ambient medium not only carries energy of light but also passes the force of affect that can surround the lives. In the context of modern cinema, "a medium is a milieu for its potential capacity to activate a haptic experience of the surrouding world, including its atmospherics." [@bruno_atmospheres_2022, 26] Ultimately, then, the term medium can be understood as an atmospheric space in which cultural, experiential mediations occur as elements, matters, and surfaces come into relation with one another. [@bruno_atmospheres_2022, 27] The concepts of medium, milieu, and ambience are interchangeably used in terms of the cinematic and art projection in Bruno’s book, which shares certain qualities of situated, fluid, mixture, and luminiferous transmission, but they are not identical in terms of modality of perceptional, spatial, and ambient modulation. 이러한 양상들은 atmosphere라는 연결적 관계망 안에서 형성되고 변화한다. Bruno notes the reason for researching the concept of atmosphere because she "[wishes] to explore the notion of atmosphere further, for it affects the way we mediate our relations with the world, and also because it is integral to the constitution of media forms, and their reception." [@bruno_atmospheres_2022, 30] The idea of atmosphere offer relational sensation not only within the screen but expansion and mediation to the outside, which I think also allows my exploration in Eisenstein to the larger notions of, in Eisenstein’s word, unification to the relation in the active and collaborative manner. 브루노는 빛을 중점적으로 atmosphere of projection에 대해 접근하며 referencing art historian James Nisbet’s analyses on emerging new practice with the light in relation to the atmosphere and landscape. 하지만 위에서 말했듯이 그 시기는 또한 gesture가 사라진 시기기도 했으며, ^[@schulzki_underlying_2019] 새로운 감각의 시간이 도래한 시기이기도, 또한 신체와 시간에 대한, gesture와 movement에 대한 집착이 시작된 시기기도 했다. 그를 이 시기에 신체적 부재가 빛으로 채워졌으며 신체는 또다시 다른 형태로 mediated되었다. 이 둘의 관계가 어떤 방식으로 사진과 영화에 동시에 영향을 끼쳤는가는 분명 흥미로운 주제이지만, it is also out of scope in this thesis; thus, I will move from the light and the mediation of the body and tactility in terms of its absence or loss. Her idea is most useful because the bounded qualities of the optic can be expanded to the bodily sensation and moving image’s material qualities, which can be found in architectural and painterly practice. However, although I follow the idea of atmosphere, mainly Bruno's starting idea in *Atmospheres and Projection* (2022), which focuses on atmospheric projection and how it embraces the architectural space as she uses the metaphor of fabric, I aim to cover both projection and monitor display to focus more in the practice of moving image as atmospheric moving image which I think can embrace not only architectural space and its atmosphere but also Eisenstein’s montage in cinema practice, and most importantly expand the notion of "unification" into relational and environmental networked "collective" sensations that connect both in and out of the frame. The sense of atmosphere has a long history in philosophy, science, art, literature, and sociocultural studies, but its conceptualisation is relatively new in scholarly use. It is "something out there, something in the air".^[it is interesting to note that in Japanese, expression "read the air" means that read the nuance reaction in general and cultural situation within the group of people, on the other hand, in Korean it related to the environmental in the movement of the snow blows, "Bunyiki (tinge or feeling that is spreading in surrounding )"] As Tonino Griffero notes by quoting Dario Galati in *Atmospheres: Aesthetics of Emotional Spaces* (2014), atmosphere is presented as "something" that can be felt but cannot be seen, a "curious situations that lose meaning when one tries to describe them: one has to be in them to understand them" [@galati_prospettive_2002, 84] [@griffero_atmospheres_2014, 3] He also points out that “[i]t is true that we say ‘I am sad’ and not ‘I feel sadness around me’, but only because the extreme proximity of that atmosphere and the introjectionist prejudice privileging the possessive sense of the personal pronoun,14 both impede the external location of sadness,” [@griffero_atmospheres_2014, 4] a spatialised feeling both in affective and corporeal, in which is the process of a way of to be or stand outside oneself, ecstasy. Important qualities of atmosphere (atmos = exhalation or vapour, sphaire = sphere or globe) are spatiality and affect, "[t]hat is to say, they possess the capacity not only to create but to pervasively transmit transformative states of matter and “feelings poured out in the space.” [@griffero_atmospheres_2014, 36, 108] In terms of perceiving atmosphere, despite of its vagueness, Griffero attempt to classifies in several ways. First of all, it is living significant in the chaotic-multiple situations than solid perception "endowed with their own internal significance" [@griffero_atmospheres_2014, 12] Perceiving atmospherical affect should be within and involved the situation, "being-in.the-world," [@griffero_atmospheres_2014, 15] despite there are several occasions that are not easily observed its relations in corporeal sense, such as economic or political situations, in most cases, the atmospheric perception indicates that is perceiving through the body, felt-body is touched or communicated by surroundings. As much as the coldness and hotness is not the property of the matter the atmosphere is a quasi-thing that is encountered expressive quality or ways-of-being. Atmospheric perception is far from semiotic interpretation found in sign or image but holistic sense of the situation with precious experience and sometimes with involuntary reactions “aesthesiological demonstration of the external world” [@griffero_atmospheres_2014, 19] This involuntary being-perceived is also pedagogical and empirical follows historical and cultural depth. Because of its collective sensation and possibility of making a emotional link between the audience and stage, it is great length of discussion continued in theatrical theories since Chekhov’s reflection. [@cechov_actor_2002] 에이젠슈테인이 연기에 관한 이야기를 할 때 이러한 관점에서 저 가까워지는 것은 우연이 아닐 것이다. > A vital performance by an actor is based on the fact that he [...] causes [...] emotions to arise, to develop, to turn into others – in a word to live in front of the spectator. [@eisenstein_montage1938_2010, 302] > ““that very originary embryo of expressive form, in which emotion is poured,” and in which audiovisual synesthesia could be embodied” [neuberger_another_2017, 258] In the atmospheric moving image, the body becomes a medium, as Bruno notes, that is midpoint of an quasi-thing atmosphere and intermediate point where the sensation transmitted into. ^[above, I quotes from Spitzer, "a twofold spatial reference: the midpoint of an object, and the intermediate point(region, substance) between two or more objects," [spitzer_milieu_1942, 36] however, I do not intend to propose duality of mind and body nor input of sensation from ourside bur rather attempting to indicate that this "body" is fel-body that unavoidable categorisation to describe this process.] Eisenstein argues the importance of gesture and movement in creating unification and pre-logical as "Expressive Movement". Body is a receiver of pre-logic, at the same time, performer of inner conflict, and for him, both interacting as dialectical "unity of opposites." [@neuberger_another_2017, 262]^[Original reference in Eizenshtein, Metod, 1:170, 174, 177. Due to unpublished Eisenstein’s book Metod in English, I followed Neuberger’s translation. However, I believe it is worth to examine and expand it further when Metod published in the future] One of example of gestures is experimented in *Ivan the Terrible* in his version of "negation of a negation". For instance, scene of comedy, in Macbeth and Hamlet, is used to bring up the maximum emotion of tragedy, small gesture in motion that is opposite or even contradictory to the general narrative. This negation of a negation create a zig-zag transformation of contradictions in the synthetic form into hight and more abstract, even passionate "image" in cinematic atmosphere.^[depiction and image in [@eisenstein_montage1938_2010]] In the latin, medium has "a twofold spatial reference: the midpoint of an object, and the intermediate point(region, substance) between two or more objects." [spitzer_milieu_1942, 36] Gestures and movement of actor’s body, framing, and camera movement in atmospheric moving image shows that the transition, interaction, and interpeneration of process of unity.^[In Hegel’s dialectic, Adorno analyses the importance of the antithesis, negation of negation. (further)] The subtle movement that deliver contradiction of moving image can be found in still-like cinema, slow cinema. “As Elizabeth Grosz, building on Henri Bergson, argues, the phenomenon of ‘[w]aiting is the subjective experience that perhaps best exemplifies the coexistence of a multiplicity of durations, durations both my own and outside of me’ (2004: 197; see also Mroz, in Chapter 20).” (Luca and Jorge, 2016, p. 4) What does "slowness" means in cinematic practice? Tiago De Luca and Nuno Barradas Jorge ask in *Slow Cinema* (2016) and note that "the film critic tentatively identifies the slowness of a film such as Tokyo Story (Tokyo Monogatari, 1953) not in its form but in its content, […] There is arguably far more here to Ozu’s slowness, however: consider, for instance," > “his resolutely static camerawork, his attention to narratively insignificant incidents, and especially his focus on settings devoid of human presence, his so-called ‘pillow shots’.” [@luca_slow_2016, 6] It can be oxymoron to talk about the "slowness" in the context of Eisensteinean montage that has rapid cuts and shots and even trigger the long-pending discussion on realism. However, my concern in this thesis is not resided in the debate on duration or temporal realism but to bring the art of moving image to expressional and performatic experiment. Theories of "slow cinema" shows that "slowness" presents narrative closer to unintelliglbe and uncaculable lived-body experience, in which the sensation of space is extradimensional and non-epistemic that is predimensional lived space "brings a fundamental contraposition to light". \parencite[36--7]{griffero_atmospheres_2014} \marginpar[left]{여기에 waiting에 대해서 쓴 거 찾아서 집어넣자.} Either by the expansion or contraction, enormous or tiny, the ungraspable time and space forms a sensation of the whole, singlar, a unification of something. A something that "develop[s] their own potentiality, which can influence feelings. In the following discussion, I shall call this potentiality “atmosphere."" \parencite[172]{low_sociology_2016} Slowness forms two main movements of the cinema. ==In Siegfried Kracauer’s definition, there are two motions: “The first is ‘objective motion’, that is, the movement of objects in front of the camera, a kind that predominated in the silent era when the camera remained mostly static. With the development of film technology, a second type came into being that Kracauer defined as ‘subjective motion’, which aligns the spectator’s point of view with a tilting, panning or travelling camera, while bringing motionless, as well as moving, objects to his or her attention [@kracauer_theory_1997, 33-4]. Editing, for Kracauer, also produced subjective motion insofar as ‘an appropriate arrangement of shots may rush the audience through vast expanses of time and/or space so as to make it witness, almost simultaneously, events in different periods and places’ [@kracauer_theory_1997, 34]” (Luca and Jorge, 2016, p. 27)== However, when the slowness comes to film theories, it concerns hardly in the motion of objects or camera but lacking, lingering, or restricted movement in narrative, "movements other than Kracauer’s second type of subjective motion, that is, editing, or the lack thereof, within a logic that attributes to the long take the power to delay narrative progression.” [@luca_slow_2016, 27] Elena Gorfinkel analyses Meek’s Cutoff and notes the slowness of this film comes from the subtlety and omission in narrative but it is also "pronounced in her use of a 1.33:1 (4:3) aspect ratio, instead of the customary 1.85":1" [luca_notitle_2016, 128] Companied with "slow" narrative the restricted visual field deliver irritation from restrained space and time that shows no more than *here and now*. > The most plausible theory of film technique, that which focuses on the movement of objects, is both provocatively denied and yet preserved, in negative form, in the static character of films like Antonioni’s La Notte. Whatever is ‘uncinematic’ in this film gives it the power to express, as if with hollow eyes, the emptiness of time. Irrespective of the technological origins of the cinema, the aesthetics of film will do better to base itself on a subjective mode of experience which film resembles and which constitutes its artistic character. [@adorno_transparencies_1981, 201] ==여기에 예시 영화 하나== [Meek’s Cutoff](@reichardt_meeks_2010) It is a contemplating duration, but it is also a violent windstorm that is blustering in slow motion. The emotion never ceases in the sadness or despair in moving images but multiple thoughts and, even, opposition feelings of the inner mind blasting the frame. It is a time of reflection, but it is also a violent windstorm that blows in slow movements. Emotions never cease in the sadness or despair of the image that moves, but multiple thoughts and even oppositional emotions of the inner mind blast the frame. - The slow cinema, or rather a subtle movement image the art of projection explores corporeal and bodily experience in space, such as affect, emotion, sensations of surrounding, medium of film 과 ambiance of projection The atmospheric milieu filled with energy and ambient medium work as a conveyor of forces that surrounding bodies of lives. ## Note ## Related Notes ```dataview LIST FROM [[202304110915]] and -"Plans" and -"resources" ``` ## References