3 November 2022
But have we ever (been) immersed? Atmospherological cues

Tonino Griffero

5 December 2023
2023/24 /ɪˈməːʃən/
111
From Photography to Virtual Reality and back again. A conversation with Francesco Jodice

Francesco Jodice

20 November 2023
2023/24 /ɪˈməːʃən/
111
Immersed in science

Ilaria Ampollini

9 November 2023
2023/24 /ɪˈməːʃən/
111
The burning gaze. An aesthetics of shame in the age of the virtual

Federica Cavaletti

2 November 2023
2023/24 /ɪˈməːʃən/
111
Forms of the intermediary: spatiality and durations between technology and aesthetics

Neda Zanetti

12 October 2023
2023/24 /ɪˈməːʃən/
111
Virtualizing Spaces: Immersive and Emersive Images from Home to City.

Fabrizia Bandi

28 September 2023
2022/23 Practices
108
LabSim: a fully featured laboratory simulator for innovative teaching of analytical chemistry
27 September 2023
2022/23 Multisensoriality
104
Immersive Rhythms, Dismersive Images: On Music Video’s Affective Atmosphere

Tomáš Jirsa

18 May 2023
2022/23 Multisensoriality
104
Spatialization of Sound

Markus Ophälders

16 May 2023
2022/23 Multisensoriality
104
Resonance, dissonance, and things that get under one’s skin

Susanna Paasonen

28 April 2023
2022/23 Multisensoriality
104
The Genealogy of Images. From Focillon and Warburg to Computer Vision and Contemporary Semiotics

Maria Giulia Dondero

27 April 2023
2022/23 Multisensoriality
104
Between Picture Theory and World View: a Wölfflinian Approach

Michael Jenewein in conversation with Lambert Wiesing and Thomas Zingelmann

19 April 2023
2022/23 Multisensoriality
104
Style and World View: Wölfflin, Schwitters, Beuys.

Lambert Wiesing

3 March 2023
2022/23 Multisensoriality
104
Who is here when I am here?

Michel Reilhac

17 February 2023
2022/23 Practices
108
Another Reality

Immersive Solutions from Training to Business.

16 February 2023
2022/23 Multisensoriality
104
About presence: perception, technologies, immersive environments.

Enrico Pitozzi

3 February 2023
2022/23 Practices
108
Mixed reality for doctors. The ARTICOR software for cardiovascular interventions
1 February 2023
2022/23 Multisensoriality
104
At the roots of digital: in praise of a rhizomatic archaeology

Francesco Casetti

20 January 2023
2022/23 Practices
108
Active Learning of Industrial Chemical Processes By Virtual Immersive Laboratory: The Eye4edu Project

Carlo Pirola

19 January 2023
2022/23 Multisensoriality
104
Sensing Cinema Heritage. For a multisensory approach to film heritage

Andrea Mariani, Eleonora Roaro

10 January 2023
2022/23 Multisensoriality
104
Archaeology of immersion

Barbara Le Maître, Natacha Pernac, Jennifer Verraes

research: Seminar

2022/23 Multisensoriality
104

But have we ever (been) immersed? Atmospherological cues

Tonino Griffero

Apparently, a pathic and atmospherologic aesthetics, i.e. based on the idea that the human being is first and foremost, before any reflection and sometimes even any explicit awareness, involved by feelings that are diffused in the surrounding space and sometimes so authoritative that they do not allow any critical reaction, could not but recognise the centrality of the nowadays widespread theme of immersiveness. But the meaning of 'immersion' is widely disputed, as is that of 'atmosphere'. In fact, it is one thing, to give just one emblematic example, to think that atmosphere is only the feeling in action, while one is experiencing it and by which one is deeply involved (which obviously implies immersion), and quite another to admit the possibility that an atmospheric feeling, while presenting itself as a direct affordance to our situated perception, can instead be detected even without implying any personal involvement, thus allowing the percipient an ex-centricity which could also become an effective critical distance. Having assessed some of the different types of atmospheric experience and some of the many paradoxes that invalidate the very notion of 'immersion', we must also ask ourselves whether an 'atmospheric competence', in the case of atmospheres that are actually involving and for which the felt body is a precise sounding board, does not also, if not above all, imply the possibility that an initial immersion is followed by a relatively critical (re)emersion

Biography

Tonino Griffero

Tonino Griffero is Full Professor of Aesthetics (University of Rome 'Tor Vergata', Italy)

 

Selected bibliography

Recent books:
Atmosferologia. Estetica degli spazi emozionali, Roma-Bari 2010; 2 ed. Milano 2017; engl. tr. Atmospheres. Aesthetics of Emotional Spaces, London-New York 2014;
Quasi-cose. La realtà dei sentimenti, Milano 2013; engl. tr. Quasi-Things. The Paradigm of Atmospheres, Albany (N.Y.) 2017;
Il pensiero dei sensi. Atmosfere ed estetica patica, Milano 2016; enlarged engl. tr. Places, Affordances, Atmospheres. A Pathic Aesthetics, London-New York 2020;
The Atmospheric “We”. Moods and Collective Feelings, Milan 2021;
with G. Moretti (ed.), Atmosphere/Atmospheres. Testing a new paradigm, Milan 2018;
with G. Francesetti (ed.), Psychopathology and Atmospheres. Neither Inside nor Outside, Newcastle upon Tyne 2019; enlarged it. tr., Psicopatologia e atmosfere. Prima del soggetto e del mondo, Roma 2022;
with M. Tedeschini (ed.), Atmospheres and Aesthetics. A Plural Perspective, Basingstoke 2019.lgrave Macmillan 2019).

research: seminar

But have we ever (been) immersed? Atmospherological cues

Tonino Griffero

Apparently, a pathic and atmospherologic aesthetics, i.e. based on the idea that the human being is first and foremost, before any reflection and sometimes even any explicit awareness, involved by feelings that are diffused in the surrounding space and sometimes so authoritative that they do not allow any critical reaction, could not but recognise the centrality of the nowadays widespread theme of immersiveness. But the meaning of 'immersion' is widely disputed, as is that of 'atmosphere'. In fact, it is one thing, to give just one emblematic example, to think that atmosphere is only the feeling in action, while one is experiencing it and by which one is deeply involved (which obviously implies immersion), and quite another to admit the possibility that an atmospheric feeling, while presenting itself as a direct affordance to our situated perception, can instead be detected even without implying any personal involvement, thus allowing the percipient an ex-centricity which could also become an effective critical distance. Having assessed some of the different types of atmospheric experience and some of the many paradoxes that invalidate the very notion of 'immersion', we must also ask ourselves whether an 'atmospheric competence', in the case of atmospheres that are actually involving and for which the felt body is a precise sounding board, does not also, if not above all, imply the possibility that an initial immersion is followed by a relatively critical (re)emersion

3 November 2022
17:00
18:30

Online

But have we ever (been) immersed? Atmospherological cues
Tonino Griffero
Online
20221103
17:00
18:30