This chapter traces the genealogy of the term atmosphere in the German language, identifies historical semantic shifts, and points to its grammatical specifics. The state of research on atmospheres is briefly summarized and an overview is offered of the various definitions of the term in different disciplines. Drawing on Timothy Morton’s theory of ambient poetics, and on Hermann Schmitz’s “new phenomenology,” four key characteristics of atmospheres are discussed and elaborated: their mereological constitution, their modal structure, their intensification at affective thresholds, (...) and their affective efficacy through suggestions of movement. (shrink)

The phenomenology of atmospheres is recently gaining attention in debates on situated affectivity. Atmospheres are defined as holistic affective qualities of situations that integrate disparate affective forces into an identifiable and unitary gestalt. They point to a blurred, pathic, relational, and pre-individual form of experience which has been described in terms of ecological affordances. Despite its relevance in diverse areas of research such as architecture, phenomenological psychiatry and aesthetics, a thorough analysis of the phenomena of affective atmospheres from an enactive-ecological (...) perspective is missing in the literature. This article aims at clarifying how and to what extent affective atmospheres can be accommodated into ecological-enactive understandings of the environment in terms of affordances. To do so, I review four perspectives on ecological affordances – the gibsonian account, the relational account, affective affordances, and the Skill Intentionality Framework (SIF) – and contrast them with the ontological and epistemológical principles that ground the phenomenology of atmospheres. I argue that only the field perspective developed in SIF is compatible with the phenomenology of atmospheres. From this perspective, affective atmospheres can be understood as phenomenological counterparts of context sensitivity, that is, as the holistic and pathic background feelings that make certain affordances more salient than others. As a conclusion, the analysis in this article shows the potential of the phenomenology of atmospheres to enrich the ecological-enactive cognition framework. It also highlights the opportunity to construct a situated understanding of affectivity that is informed by phenomenological perspectives. (shrink)

In this paper, I address the question of how emotional qualities can be attributed to musical timbre, an acoustic feature that has proven challenging to explain using traditional accounts of musical emotions. I begin presenting the notion of musical expressiveness, as it has been conceived by cognitivists to account for the emotional quality of various musical elements like melody and rhythm. However, I also point out some limitations in these accounts, which hinder their ability to fully elucidate the emotional expressiveness (...) of timbre, especially when considering it as a result of non-cognitively mediated processes. Consequently, I explore the link between timbre and atmosphere by reviewing anecdotal sources that have characterized timbre in terms of atmosphere. The goal here is to determine if these characterizations should be seen as merely allusive and metaphoric expressions or if they genuinely reveal essential properties of timbre. To achieve this goal, I delve deeper into the notion of atmosphere, and I show that it shares several key traits with the notion of musical emotions as conceived in the cognitivist’s account. Both musical emotions and atmospheres are affectively charged externalities that are apprehended by the subject without cognitive mediation. Drawing from this insight, I conclude that the notion of atmosphere can serve as a valuable tool in explaining the emotional expressivity of timbre without invoking the resemblance-based mechanisms often found in cognitive accounts of expressiveness. (shrink)

ZusammenfassungAusgehend von der Feststellung, dass „Atmosphären“ einerseits ein empirischer Sachverhalt im religionswissenschaftlichen Feld sind und andererseits in verschiedenen Disziplinen seit gut 40 Jahren auch als analytisches Konzept gehandelt werden, verfolgt dieser Literaturüberblick das Ziel, den Stand der Forschung zum Atmosphärenkonzept zusammenzufassen und das Potenzial des Konzepts für religionswissenschaftliche Forschung zu diskutieren. Der Beitrag stellt wesentliche Positionen zum Atmosphärenkonzept aus Philosophie, Phänomenologie, Psychologie, Ästhetik und Kunstwissenschaft sowie Architekturgeschichte, Städtebau, Soziologie, Humangeographie und Theologie vor und konstatiert ein religionswissenschaftliches Forschungsdesiderat. Auch die Religionsästhetik (...) und einige der sogenannten turns werden thematisiert, da sie sich bereits mit Aspekten dessen befassen, was den Atmosphärenbegriff und seine Operationalisierung ausmacht. Der Artikel beinhaltet zudem einige Hypothesen, wie ein religionswissenschaftlich fruchtbares Atmosphärenkonzept auszuarbeiten wäre. (shrink)

The last few years have seen increasing research interest in moods and atmospheres. While this trend has been accompanied by growing interest in the history of the wordStimmungin other disciplines, this has not yet been the case within philosophy. Against this background, this paper offers a conceptual history of the wordStimmung, focusing on the period from Kant to Heidegger, as this period is, presumably, less known to researchers working with notions like mood, attunement or atmosphere today. Thus, considering this period (...) might provide conceptual resources not yet considered in current debate.Stimmunghas the remarkable feature of encompassing the entire semantic field of mood and atmosphere, insofar as both subjects and objects can literally be inStimmung.Stimmungmight refer to the state or condition of being attuned, which is understood as a dispositional state, as well as the process or act of attuning, which includes self-activating and foreign-determined forms of attuning. The word was first used for the tuning of musical instruments, but was quickly transferred to the fields of aesthetics, psychology, and physiology. This paper will focus on the contrast between the psychological canonization ofStimmungas a type of mental state, and the use ofStimmungas an untranslatable, irreducible metaphor with unique semantic force allowing for original theorizing. (shrink)

ABSTRACTSince its emergence during the 1970s, scientific research on exercise addiction has been interested primarily in the mental and physical causes and consequences of the behaviour of exercise addicts. This focus can be ascribed to the dominance of psychology and medicine among this field of research. This paper wishes to contribute to these thematic priorities and basic approaches by taking a phenomenological perspective as a basis, thus making the embodied and the personal dimension of exercise addiction the centre of attention. (...) This approach aims towards two goals: First, it shall be pointed out that philosophy, especially phenomenology, can make a profound contribution to research concerning exercise addiction. Second, a phenomenological approach, which has so far remained mostly unknown to international sport philosophy, will be introduced, namely the New Phenomenology founded by German philosopher Hermann Schmitz. For this purpose, the objective of New Phenomenology will be explained as well as... (shrink)

Although some scholars acknowledge the decisive role of the felt body in the process of perspective taking, the precise role of the felt body remains unclear. In this paper, a theory of affective communication is developed in order to explain and understand the process of perspective taking in human interaction on a corporeal, pre-reflective and thus affective level. The key assumption of the outlined theory is that any process of perspective taking is essentially based on the two dimensions of the (...) felt body, namely attraction and repulsion, dominance and subdominance. The dimension of attraction and repulsion determines whether individuals attractively converge or repulsively diverge in their perspectives. Regarding the dimension of dominance and subdominance, it is assumed that there is always a dominant and a subdominant side in human interaction. In the case of attraction as a necessary condition for finding common ground, the dominant side serves as the perspective giver and the subdominant side serves as the perspective taker. The outlined theory is phenomenologically based on the works of Schmitz and Rappe and marks a contribution to the research program of neophenomenological sociology. (shrink)

Is there really an atmospheric turn? The concept of “atmosphere” as a qualitative-emotional prius of sensory experience seems today to have encouraged the convergence of many interdisciplinary studies focused on the qualitative aspects of our “surroundings”. Based on the neo-phenomenological theory of atmospheric perception as a first pathivc impression and a felt-bodily communication, this paper explores and synthesises the relationship between atmospheres and expressive qualities. It thus clarifies the key features of a general “pathic” aesthetics. It considers perceivers as beings (...) who are touched by atmospheric feelings in emotional and tactile ways. These are widespread and vary in their modulation of lived space. They are also ontologically rooted in things and quasi-things of the lifeworld. By realising how they (especially in an unintentional way) expose themselves to what happens, perceivers turn out not to be “subjects of something” but rather “subjects to something”: that is, human beings who are only “sovereign” when they are free, at least in their daily experience, from the dogma of rational and methodological autonomy imposed by Western Modernity. (shrink)

Over the past decade, the notion of affective affordances has gained some prominence, particularly in the context of 4E approaches to affectivity. One example of affective affordances, mostly mentioned in passing in 4E approaches to affectivity, are atmospheres. Notoriously difficult to pin down in general, it has so far also remained unclear what distinguishes atmospheres from other affective affordances and whether they are a distinctive type of solicitations. Intuitively, the atmosphere of a situation implies an affect-regulatory profile different to what (...) and how single objects solicit. Notably, as affective frames of sociocultural delineated situations they are relevant for coordinating social interactions and modulate personal concerns pertaining to a given situation. In accordance with paradigm cases of experiencing atmospheres, I will claim that they make salient how one is affectively disposed toward situation-specific feeling norms. I will clarify this claim by drawing on the concepts of social and emotion scripts as they have been developed in cognitive psychology and psychology of emotions. Atmospheres will thus be understood as solicitations to change situational emotion scripts. In this way, they represent a distinct avenue for changing fields of affordances over time, based on personal concerns for social and cultural belonging. Conversely, this account sheds light on the affective underpinnings of the perception of social norms. (shrink)

This article was inspired by Georges Didi-Huberman’s keynote lecture “Que ce qui apparaît seulement s’aperçoit” delivered in 2015 at Charles University in Prague during the “Dis/appearing” conference organized by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie. Didi-Huberman’s lecture consisted of various reflections concerning the meaning of the image as instances of flaring up and fading away. During his talk, Didi-Huberman used evocative images – recollections – which he had collected over the years; impressions while walking in the streets, melancholic musings (...) about love, and thoughts gathered from literature en route. From this, the article identifies seven cases through which Didi-Huberman has conceptualized images; the nymph, the butterfly, the passer-by, the surface, the dance, the silence, and sophrosyne. These cases attest to the influence of Aby Warburg on the writing of Didi-Huberman and, taken together, identify what these cases of the image have in common; namely, that images occupy an interspace: the fleeting instant of appearance/disappearance. Didi-Huberman explains images – “Dante’s Beatrice and Baudelaire’s fleeting beauty” as “the paradigmatic ‘passer-by.’” Through these cases, this article poetically draws the reader’s attention to what Didi-Huberman calls “non-knowledge”; those fleeting, mobile, paradoxical aspects of images that resist clear categorization and can be thought of as fireflies against the night sky. The article asks: is it possible to characterize this genre? To denominate the collection of thoughts that welcome the image as a witness to the history of thought? The study of images can be understood, following Giorgio Agamben’s interpretation of Aby Warburg’s oeuvre, as “the nameless science.”. (shrink)

Complex systems theory has become one of the main frameworks to understand, model and explain interactional phenomena such as interpersonal coordination. In her paper, Butler (this issue) applies this approach to theorise about coordination at large, including human interactions. We argue that the all-encompassing language of complex systems theory leads to overemphasising the physical aspects that human interactions share with other coordinated systems in nature. This emphasis ultimately disregards the meaningful dimension implied in any human movement, understanding it as mechanical (...) motion, rather than expressive actions. (shrink)

The boom in new theories of resonance is most certainly due to an intellectual atmosphere closely linked to the so-called “affective turn” in the humanities. The paper compares some theories of resonance or responsivity such as Thomas Fuchs’ phenomenological-psychopathological analysis of resonance and Bernhard Waldenfels’ phenomenology of responsivity with a sociological research on resonance by which Hartmut Rosa aims at contrasting the capitalist dictatorship of the growth-acceleration-innovation triad and the resulting loss of bodily resonance in the modern age, and above (...) all with Hermann Schmitz’s phenomenology idea of felt-bodily communication. My aim is to show that by providing a neophenomenological approach to atmospheric perception – viewed as an affective and pre-reflexive bodily communication triggered by a spatial feeling whose sounding board is our Leib – a pathic aesthetics can assign both a diagnostic and a therapeutic value to the concept of resonance. This furthermore means that a sociology also attentive to the bodily and pre-linguistic dimension and a phenomenology also attentive to situative and historical-collective dimensions, both being able to focus on the pathicity of everyday life, may find an unexpected but promising point of contact. (shrink)