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73 ANDE ANDERS RSON ON H I L L ROAD Arti Articl cl
Auth Author or
Arti Articl cl Titl Title: e: gern gernot ot bohm bohme; e; Ethn Ethnic ic obje object ct in dome domest stic ic in erio eriors rs spac space, e, atmo atmosp sphe here re nd he ki
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MO
HE
F U N D AM E N TA L C O N C E P T NE
OF
A E T HE T C S
Gernot Bobme
1. ATMOSPHERE
Th ex ressio atmosphere is no oreign to ae thetic discourse. On th contrary it oc ur freq ently, almost of necessit in speeches at th op ning of powe fu atmosphere of indicate somethin
work to atmospheri effect or
indeterminate, difficul to express, even ifit is only in orde
whic also points in evocativ fashio to somethin aestheticall relevant to be found. This se of th word atmosphere
sphere
rather atmospheri
beyond rati na explana-
aestheti texts, oscillatin
ca sa ofa person that s/he radiates an atmosphere whic
Thesis Eleven, u mb e © 19 9 M a s ac hu se tt s
3 6 1 13 -1 2 n st it ut e o f T ec hn ol og y
betwee
implie
114
Gernot Bohrne
up
he
ul
EW
di
ke
TI
Fu eine ohologiscb
Naturastbetih (989). og
or
organi ism.
It
gy
with udgments
discussion
It
conv rs tion
th ic
disappeare
115
from aesthetics
in
ti
th
ti
art"." ic te
lf
id
th
to it
th th
to
fo essay
01'
ic
116
actio
Gernot Bohrne
contexts
and environments
EN AM N'
A UR A
Atmosphere as th Fundamenta Concep of
Ne
Aesthetics
117
mined. "Aura" signifie as itwer atmosphere as such th empt characterles envelope of it presence am 's nc pt of ra fo th velo nt th co ce of tm sp er fundamenta concep of aesthetics Th genesi of aura is paradoxical; Benjami introduced itto characterize work ofar as such He derive it ho ever significanc of thi genesis; au tually strang tissue spac an ti e; appearance of distance howeve near itmay be Restin on
ique sum-
reat th ur hese untain this ra ch it th efinition it is easy to comprehend th particular social determinatio 11
re dy ntro uc th "uniqu co ts petitio principii, sinc is re is ly hr ug au that th ique es rt or ifes tself. ra itself uniq e, it is ep table. us no on id th ex erie ce posits fo th experience ofaura firstl certai natura impression or mood as background an secondly certai receptivit in th observer Aura appear in th situatio of ease that is observation, in physically relaxe an orkfre situation. Followin Herman Schmit we coul sa that "summe afternoon" ancl "resting"-Benjamin's exampl suggests that he observes mountain chai an branch lyin on hi back-imply bodily tendency to privatiz experience It
observer lets them an himsel be that is refrains from an active intervention in th world. An aura isdearl somethin whic flow fort spatially, al os at
br athes" he
ra
is re thin
ns that
is ab or ed
dily
this atmosphere to permeate th self Precisel this dimensio of naturalnes an corporeality inthe experience of aura disappears in Benjamin's furthe us of th ex ressio ltho gh this firs ersi xe lary rese tati th experience of aura serves as it definition et in th ollo in so thin like ra ac or in to Benjamin is
118
Gernot Bohm
de
he he
to
nc pt
re
MO H ER M A N
C HM IT Z
to
bl
hi
hy
Vo
nd
er Ge st al
he [corresponding
ut
pa
k o m og o s cb e
om he di
Grundlegun del' Wissenscbaji v o id rsache de Se le).
state"
I4
E ro s
po
A u sd ru ce '
ri nc
Atmosphere as th Fundamenta Concep of
al ay
al
Ne
Aesthetics
119
r de r
ea er ch
ce
re
at
is
15
to
alt.
120
Gernot Bohm
creations CGebilde) As
aesthetic creations
5.
ca
ras
er to le nlocalizabilit
im te th it is necessar
at er ir to to liberate them from th subjective-objective
It em
es
aa
at
epti li
Atmosphere as th Fundamenta Concep of
Ne
Aesthetics
121
musica instrument exis only as crypto-tradition Th dominant conception he ontr ry th rm la ed by t, th it is possible to think thin with al it determinations an then pose th question hether this completely determined thin actually exists It independen of it existence, hich is ascribed to it ulti atel by th cognitiv bj ct "p sits th thin illustrate Ifwe am e: ue th thin thin hi is de er in th olou blue ic
It xist nc is th eter ne bl en ss of he up owev r,
om hi th tr lo ring
ro gh loca izatio in sp ce nd im th gh uite th am
hi isrestricted in he an er it bu on as thin ic ra iate ut th en ir nmen th "t ct ri in rtai this iron t, as ak
articu atio it es ce he ay or ne of ts es nc th thin isnot though ofin term of itsdifferenc from othe things it separation an it in th ay ic it es rt from tself. tr ce fo th se in orth th xp es io "t csta ie th ing" ul ot se diffic ltyt in olou s, ll nd thin It subject-object dichotom they ar designated as "secondary qualities" that is as qualitie whic do no in themselves belong to th thin ce in relati qu lities uc xten io fo stasie In th lassic to og th thin form is though ofas somethin limiting an enclosing, as that whic encloses inwardly th volume of th thin an outwardl limits it Th form of thing, however, also exerts an external effect It iron t, ak th ho en it he su ro di sp nd fill it it te sion nd gg stio ov nt th cl ssic nt lo it of
sistan thin
th ng is he
ther th ng er ls
tering this pa xt rn ll rc ptible th
ts re en
te si ol ve th sp ce
it
in sp e.
sibl to conceive at ospheres ina meaningful way. They ar spaces insofa as they ar "tinctured throug th presence of things of person or environmen ta constellations that is throug thei ecstasies. They ar themselves sphere
II
122
Gerno Bohm
in
in
in
te
perceptible.
TH
perceive
an
M A K IN G O F A TM O P HE RE S
th perceived.
la
es
It
ic
lt
ic
it
will
Atmosphere as th Fundamenta
Concep of
Ne
Aesthetics
123
crete
musica
atmosphe es
acoustic furnishi g)
cosmetic
inte io
ic
ir
.'
ic
de ign-c-as
ell,
124
Gernot Bohme
an
io
es
th
ad
ab ence
ce
ic
la ents
it es
ts
ea
ev
ic
ig tf
ts
it ca
ar
me
t.
ci if
cl arly
ch
th
me
th
an
ce
ti ln
to complete
ti
me
ie
io
th scene".I th
ip
epar
The
It
it
125
ta
7. CONCLUSION
lu fo
omethi
ti
ty
or someon or ti tm
ly
theory
everyday an
ti
politica th
th articulatable.
aesthetics li
Genera
Notes
F u r e i n ( jk o lo g i sc h e N a t u rd s tb e ti k Eine
of 1989 "An Aesthetic Theory of Nature", te
H.
E n td ec ke n 7.
(Frankfurt
S u dd e ut sc b Z e it un g ( 1 Asthetik de Natur (Frankfurt Suhrkarnp,
Suhrkamp
1985).
), 1991).
T h e si s E l ev e n 32 (992), pp. 90-102 an r" in
u er de ch e (Graz, Droschl, 1991). Languages of Ar (Indianapolis, Bobbs-Merrill, 1968). Eco, Einfubrung d i S em io ti k (Munich, Frankfurt, 1972),
rl
126
Gernot Bohm
ns
ne
g,
ic
pp.10ff.
es
el
10 W. Benjamin (11t
as Kunstwer
im Zeitalte
edition, Frankfurt, Suhrkamp
11 W. Benjamin 1s versio
"Das Kunstwer (m
translation)
seiner tecbniscbe
Reproduaierbarleei
1979).
im Zeitalte
seiner technische
Gesammelte
Scbrifte
Reproduzierbarkeit",
Fran furt
uhrkam
991)
p. 1.2, 440. 12.
L.
Klages, Vo
kosmogtmiscben
13.
L.
Klages, Grundlegun
Eros
del"Wissenscbaf
vo
Ausdruck (9th edition, Bonn Bouvier,
1970). 14.
ci
L.
15 H. Schmitz, System de Pbilosopbi
vo
II (B nn
ou ie
64fO
,3
16 Schmitz, System del"Pbilosopbie C.
L.
Hirschfeld, Tbeorie del Gartenkuns
Reich, 1779-1785). 18 Hirschfeld, op cit. (vol. 0, Hirschfe
p. ci
(vol, 0,
o!.,
ei zi
We dman
Erbe
un
