From Perceptual Apparatus to Immersive Field of Experience: Notes on Atmospheric Perception

Publikation: KonferencebidragPaperFormidling

Resumé

Peter Sloterdijk ascribes to architecture the “the design of immersions” and hence the “production of embedding situations” or atmosphere (2011 (2006): 108-109), which as devised by Gernot Böhme becomes a fundamental concept of a new aesthetics (1993). Atmosphere implies affective immersion and activates a set of traits related to character and impression, calling for a re-evaluation of what perception entails. It requires one to overcome the subject-object dichotomy, being perceived not as an object placed in front of the beholder, but as the “common reality of the perceiver and the perceived” (Böhme 1993: 122). Following these assumptions, engaging the notion of atmosphere in a discussion about space and perception seems necessary.

Jonathan Crary explored the vast field in which perception and its understanding were transformed, tracing a particular taxonomy of visual apparatuses, where the immersive experiences relocate the vision within a “carnal density” (1992: 150), regaining all sensory modalities. Diverse perceptual apparatuses also defined a larger disciplinary expansion in the field of architecture and design. Conceived as sensorial activators, intensifiers of phenomena, or orchestrators of emotions, many of these apparatuses were meant to be vehicles for regaining the consciousness of the body and the environment. Apparatuses that expand into space complete this particular genealogy – space itself becoming a mediating and conductive device capable of engendering these embedding situations, Sloterdijk remarks.

Situated within the field of trans-disciplinary collaborations, the oeuvre of Werner Ruhnau comes to the fore as paradigmatic for illustrating these aspects. The joint projects with philosopher, artist and educator Hugo Kükelhaus, or artists such as Yves Klein and Adolf Luther, constitute a framework for a re-invention of perceptual worlds, providing a basis for tracing the conceptual contours of atmospheric perception, as well as for discerning the means of the production of space understood as an immersive field of experience.

References:
Böhme, G. (1993). "Atmosphere as the fundamental concept of a new aesthetics". In Thesis Eleven, 36. MIT Press, pp. 113-126
Crary, J. (1992). Techniques of the Observer. On Vision and Modernity in the Nineteenth Century. Cambridge, Massachusetts, London: MIT Press
Sloterdijk, P. (2011 (2006)). "Architecture As an Art of Immersion" (A. Chr. Engels-Schwarzpaul, Trans.). In Interstices. Journal of Architecture and Related Arts. Unsettled Containers: Aspects of Interiority, 12, pp. 105-109
OriginalsprogEngelsk
Publikationsdato28 jun. 2014
Antal sider10
StatusUdgivet - 28 jun. 2014
BegivenhedPerception in Architecture. HERE AND NOW - ANCB in collaboration with the University of Sydney, Berlin, Tyskland
Varighed: 27 jun. 201428 jun. 2014

Konference

KonferencePerception in Architecture. HERE AND NOW
LokationANCB in collaboration with the University of Sydney
LandTyskland
ByBerlin
Periode27/06/201428/06/2014

Kunstnerisk udviklingsvirksomhed (KUV)

  • Nej

Citer dette

Wieczorek, I. (2014). From Perceptual Apparatus to Immersive Field of Experience: Notes on Atmospheric Perception. Afhandling præsenteret på Perception in Architecture. HERE AND NOW, Berlin, Tyskland.
Wieczorek, Izabela. / From Perceptual Apparatus to Immersive Field of Experience : Notes on Atmospheric Perception. Afhandling præsenteret på Perception in Architecture. HERE AND NOW, Berlin, Tyskland.10 s.
@conference{d53f0998cd634750a2ada42b4fe0ff42,
title = "From Perceptual Apparatus to Immersive Field of Experience: Notes on Atmospheric Perception",
abstract = "Peter Sloterdijk ascribes to architecture the “the design of immersions” and hence the “production of embedding situations” or atmosphere (2011 (2006): 108-109), which as devised by Gernot B{\"o}hme becomes a fundamental concept of a new aesthetics (1993). Atmosphere implies affective immersion and activates a set of traits related to character and impression, calling for a re-evaluation of what perception entails. It requires one to overcome the subject-object dichotomy, being perceived not as an object placed in front of the beholder, but as the “common reality of the perceiver and the perceived” (B{\"o}hme 1993: 122). Following these assumptions, engaging the notion of atmosphere in a discussion about space and perception seems necessary. Jonathan Crary explored the vast field in which perception and its understanding were transformed, tracing a particular taxonomy of visual apparatuses, where the immersive experiences relocate the vision within a “carnal density” (1992: 150), regaining all sensory modalities. Diverse perceptual apparatuses also defined a larger disciplinary expansion in the field of architecture and design. Conceived as sensorial activators, intensifiers of phenomena, or orchestrators of emotions, many of these apparatuses were meant to be vehicles for regaining the consciousness of the body and the environment. Apparatuses that expand into space complete this particular genealogy – space itself becoming a mediating and conductive device capable of engendering these embedding situations, Sloterdijk remarks. Situated within the field of trans-disciplinary collaborations, the oeuvre of Werner Ruhnau comes to the fore as paradigmatic for illustrating these aspects. The joint projects with philosopher, artist and educator Hugo K{\"u}kelhaus, or artists such as Yves Klein and Adolf Luther, constitute a framework for a re-invention of perceptual worlds, providing a basis for tracing the conceptual contours of atmospheric perception, as well as for discerning the means of the production of space understood as an immersive field of experience. References: B{\"o}hme, G. (1993). {"}Atmosphere as the fundamental concept of a new aesthetics{"}. In Thesis Eleven, 36. MIT Press, pp. 113-126 Crary, J. (1992). Techniques of the Observer. On Vision and Modernity in the Nineteenth Century. Cambridge, Massachusetts, London: MIT Press Sloterdijk, P. (2011 (2006)). {"}Architecture As an Art of Immersion{"} (A. Chr. Engels-Schwarzpaul, Trans.). In Interstices. Journal of Architecture and Related Arts. Unsettled Containers: Aspects of Interiority, 12, pp. 105-109",
keywords = "Atmosphere, Perceptual Apparatus, Affect, Embodiment",
author = "Izabela Wieczorek",
note = "Paper presented at the International Symposium Perception in Architecture. HERE AND NOW organised by University of Sydney in collaboration with ANCB as part of the ANCB programme 'No Space Without Traits', ANCB Berlin, Germany; Perception in Architecture. HERE AND NOW, PiA ; Conference date: 27-06-2014 Through 28-06-2014",
year = "2014",
month = "6",
day = "28",
language = "English",

}

Wieczorek, I 2014, 'From Perceptual Apparatus to Immersive Field of Experience: Notes on Atmospheric Perception', Paper fremlagt ved Perception in Architecture. HERE AND NOW, Berlin, Tyskland, 27/06/2014 - 28/06/2014.

From Perceptual Apparatus to Immersive Field of Experience : Notes on Atmospheric Perception. / Wieczorek, Izabela.

2014. Afhandling præsenteret på Perception in Architecture. HERE AND NOW, Berlin, Tyskland.

Publikation: KonferencebidragPaperFormidling

TY - CONF

T1 - From Perceptual Apparatus to Immersive Field of Experience

T2 - Notes on Atmospheric Perception

AU - Wieczorek, Izabela

N1 - Paper presented at the International Symposium Perception in Architecture. HERE AND NOW organised by University of Sydney in collaboration with ANCB as part of the ANCB programme 'No Space Without Traits', ANCB Berlin, Germany

PY - 2014/6/28

Y1 - 2014/6/28

N2 - Peter Sloterdijk ascribes to architecture the “the design of immersions” and hence the “production of embedding situations” or atmosphere (2011 (2006): 108-109), which as devised by Gernot Böhme becomes a fundamental concept of a new aesthetics (1993). Atmosphere implies affective immersion and activates a set of traits related to character and impression, calling for a re-evaluation of what perception entails. It requires one to overcome the subject-object dichotomy, being perceived not as an object placed in front of the beholder, but as the “common reality of the perceiver and the perceived” (Böhme 1993: 122). Following these assumptions, engaging the notion of atmosphere in a discussion about space and perception seems necessary. Jonathan Crary explored the vast field in which perception and its understanding were transformed, tracing a particular taxonomy of visual apparatuses, where the immersive experiences relocate the vision within a “carnal density” (1992: 150), regaining all sensory modalities. Diverse perceptual apparatuses also defined a larger disciplinary expansion in the field of architecture and design. Conceived as sensorial activators, intensifiers of phenomena, or orchestrators of emotions, many of these apparatuses were meant to be vehicles for regaining the consciousness of the body and the environment. Apparatuses that expand into space complete this particular genealogy – space itself becoming a mediating and conductive device capable of engendering these embedding situations, Sloterdijk remarks. Situated within the field of trans-disciplinary collaborations, the oeuvre of Werner Ruhnau comes to the fore as paradigmatic for illustrating these aspects. The joint projects with philosopher, artist and educator Hugo Kükelhaus, or artists such as Yves Klein and Adolf Luther, constitute a framework for a re-invention of perceptual worlds, providing a basis for tracing the conceptual contours of atmospheric perception, as well as for discerning the means of the production of space understood as an immersive field of experience. References: Böhme, G. (1993). "Atmosphere as the fundamental concept of a new aesthetics". In Thesis Eleven, 36. MIT Press, pp. 113-126 Crary, J. (1992). Techniques of the Observer. On Vision and Modernity in the Nineteenth Century. Cambridge, Massachusetts, London: MIT Press Sloterdijk, P. (2011 (2006)). "Architecture As an Art of Immersion" (A. Chr. Engels-Schwarzpaul, Trans.). In Interstices. Journal of Architecture and Related Arts. Unsettled Containers: Aspects of Interiority, 12, pp. 105-109

AB - Peter Sloterdijk ascribes to architecture the “the design of immersions” and hence the “production of embedding situations” or atmosphere (2011 (2006): 108-109), which as devised by Gernot Böhme becomes a fundamental concept of a new aesthetics (1993). Atmosphere implies affective immersion and activates a set of traits related to character and impression, calling for a re-evaluation of what perception entails. It requires one to overcome the subject-object dichotomy, being perceived not as an object placed in front of the beholder, but as the “common reality of the perceiver and the perceived” (Böhme 1993: 122). Following these assumptions, engaging the notion of atmosphere in a discussion about space and perception seems necessary. Jonathan Crary explored the vast field in which perception and its understanding were transformed, tracing a particular taxonomy of visual apparatuses, where the immersive experiences relocate the vision within a “carnal density” (1992: 150), regaining all sensory modalities. Diverse perceptual apparatuses also defined a larger disciplinary expansion in the field of architecture and design. Conceived as sensorial activators, intensifiers of phenomena, or orchestrators of emotions, many of these apparatuses were meant to be vehicles for regaining the consciousness of the body and the environment. Apparatuses that expand into space complete this particular genealogy – space itself becoming a mediating and conductive device capable of engendering these embedding situations, Sloterdijk remarks. Situated within the field of trans-disciplinary collaborations, the oeuvre of Werner Ruhnau comes to the fore as paradigmatic for illustrating these aspects. The joint projects with philosopher, artist and educator Hugo Kükelhaus, or artists such as Yves Klein and Adolf Luther, constitute a framework for a re-invention of perceptual worlds, providing a basis for tracing the conceptual contours of atmospheric perception, as well as for discerning the means of the production of space understood as an immersive field of experience. References: Böhme, G. (1993). "Atmosphere as the fundamental concept of a new aesthetics". In Thesis Eleven, 36. MIT Press, pp. 113-126 Crary, J. (1992). Techniques of the Observer. On Vision and Modernity in the Nineteenth Century. Cambridge, Massachusetts, London: MIT Press Sloterdijk, P. (2011 (2006)). "Architecture As an Art of Immersion" (A. Chr. Engels-Schwarzpaul, Trans.). In Interstices. Journal of Architecture and Related Arts. Unsettled Containers: Aspects of Interiority, 12, pp. 105-109

KW - Atmosphere

KW - Perceptual Apparatus

KW - Affect

KW - Embodiment

UR - http://www.ancb.de/sixcms/detail.php?id=13520359#.VJAQK8bCseN

M3 - Paper

ER -

Wieczorek I. From Perceptual Apparatus to Immersive Field of Experience: Notes on Atmospheric Perception. 2014. Afhandling præsenteret på Perception in Architecture. HERE AND NOW, Berlin, Tyskland.