Hovering presences/ Atmosphere appears uncontrollable, emergent and not engineered
Phenomenological impact on sensory perception and also ethical perspective (5)
John Cage, Lecture on the weather
‘Atmospherically orchestrated stenographies as audible-visceral environments’
‘Are shared, taken in-‘
‘Make us dwell in a shared circle of continuous community’
‘Corporeal dimension of felt environment infused ‘
‘Permeated by boundless, ephemeral and undefined materiality, the flows and ‘imaginary landscapes’’ (6)
Like the weather, atmospheres change all the time’’ / Atmosphere in space - becomes a reality machine’ (Qtd in Borch 2015: 93)
‘After Walter Benjamin’s thoughts on the loss of aura in the age of technical reproducibility, was could one add to his memorable analysis … ?’ -> adding on to his original ideas
Scenographies- > ‘they learn how to fly or make us imagine that we fly on the same aerial currents that animate the kites of the ~ ‘
Tomas Saraceno’s Biospheres
Olafur Eliasson’s Mediated Motion or The Weather Project
-lighting, cooler, air, liquidity of materials
Sound artist- Finnish group: WEATHER STATION
John Cage’s aleatory concept of music as weather
German stage designer, Katrin Brack’s use of fog, foam, snow
-> making the fog a performer, requiring the actors to improvise with the material spatial atmosphere, the ‘weather’ conditions as they evolved and changed, hovering, drifting
‘The production of such atmospheric-acratic conditioning through design, with the phenomenological impact on sensory perception and also ethical perspective’
‘Like the weather, atmospheres change all the time and that’s what makes the concept so important. An atmosphere cannot be an autonomous state; it cannot be in standstill, frozen. Atmospheres are productive, they are active agents. When you introduce atmosphere into a space, it becomes a reality machine’ -(Qrd in Porch 2015: 93).