Unlike human beings, landscapes, cities and buildings cannot feel anything in the literal sense. They do not have nervous systems. Nevertheless, we attribute “Stimmungen” such as peacefulness and melancholy to them. On what basis? With what right? And why does it matter anyway? This paper attempts an answer to this bunch of questions. The first section clarifies the concept of “Stimmung,” by distinguishing its three major meanings, namely harmony, mood and atmosphere. Section two discusses various models of how “Stimmung” is (...) infused into our natural and artificial environment. Section three lists several ways of how we experience atmosphere, preparing the ground for the specifically aesthetic claim in section four: how, when we experience atmosphere aesthetically, we respond to it by resonating or feeling at home. (shrink)

Landscape is often seen as a predominantly visual aesthetic phenomenon, which is closely connected to painting. Georg Simmel calls landscape “a work of art _in statu nascendi._” Yet from a phenomenological point of view, landscape can also be seen as something we do not only view but also experience bodily, as something we walk through and live in. In this respect, there are many connections between landscape and the experience of space and place. For Edward Casey, it is important to (...) recognize that a landscape consists of places, which thus function as “its main modules, its prime numbers.” Consequently, the aesthetic experience of landscapes will have to take its located and situated character into account. In my contribution, I will draw on this line of thought and try to point out some key aspects of a phenomenological critique of reductive accounts of landscape and consider its relevance for the arts. As landscape and nature have become a prominent theme in artistic practices since the 1960s and 1970s, this paper will relate the philosophical discussion to artistic projects such as Richard Long’s art of walking. In his practice, the status of the work of art as well as a solely pictorial idea of landscape is questioned. (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)

In this paper we seek to examine the quest for a better way of life through migration, known as lifestyle migration, by positioning place as the a priori condition through which this experience happens. Following the work of Malpas, we argue that lifestyle migration literature has often positioned place in the background, failing to notice how an individual’s style of life is enacted through place and because of it. In order to understand the lifestyle in these migrations, place must be (...) taken seriously as a grounding theoretical and empirical topic for investigation. Using a topographical approach, we propose using the metaphorical concept of ‘survey marks’ which are designed to understand the different components of place which make up the whole. We set out three of these in our interrogation of empirical research of lifestyle migrants in Tasmania and on the Sunshine Coast in Australia to illustrate the importance of place in this research. (shrink)

The article employs music to describe the dynamics of Central European identity at the turn of the 20th century. Conceptually, the analysis is based on the notion of cultural resonance and the distinction between political territories, which isolate identity, and cultural landscapes which let it escape. This theoretical understanding is derived from the acoustic philosophy and musical practice of two Central European composers, Leoš Janáček and Béla Bartók. Exemplified here is artistic ‘extra-territorial’ identity, which is indeed how Theodor Adorno at (...) one point referred to the ‘peripheral’ sound coming from the region. This process of identity construction amplifies paradoxical middle spaces, which Jean Luc Nancy describes evocatively as a cultural mêlée. The vitality of cultural resonance is fuelled by this primary contact with mundane reality and the ‘navigational hesitation’ underpinning identity and its many trajectories. (shrink)