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

Tonino Griffero

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

16 December 2022
2022/23 Practices
108
What XR can do for a Museum

Luca Roncella

27 October 2022
2022/23 Multisensoriality
104
How Images Appear – Ontological and Epistemological Concerns

Krešimir Purgar

31 May 2022
2022 Presence
98
Virtual reality and pictorial seeing
19 May 2022
2022 Presence
98
Osaka ’70 VR Experience

Valentina Temporin, John Volpato

4 May 2022
2022 Presence
98
The “Banal” Deception of Digital Presence – Projecting Life onto Media and Machines, from Turing to Siri

Simone Natale

10 March 2022
2022 Presence
98
Towards a Science of Complex Experiences

Alice Chirico

17 February 2022
2022 Presence
98
From screen to body

Margherita Landi, Agnese Lanza

31 May 2021
2021 Interactivity
97
Experiencing with images

Giovanni Matteucci

24 May 2021
2021 Interactivity
97
Scaffolding the Interactive Imagination

Janet Murray

20 May 2021
2021 Interactivity
97
Archaeology of Interactivity: Materiality of Cinematic devices and Physiology of Human – Machine Interaction

Simone Venturini

10 May 2021
2021 Interactivity
97
Embodied simulation and experimental aesthetics

Vittorio Gallese

22 April 2021
2021 Interactivity
97
Enmeshing cloth with emotions through smart textiles and the role philosophy can play in the introduction of digital technologies

Nicola Liberati

8 April 2021
2021 Interactivity
97
Design of multisensory experiences in VR/AR

Marina Carulli

29 March 2021
2021 Interactivity
97
Cognition as Interaction – Autopoiesis, Media, Networks

Francesco Parisi

18 March 2021
2021 Interactivity
97
Can ‘interactiviy’ be saved? A terminological triage

Espen Aarseth

4 March 2021
2021 Interactivity
97
Virtuality Reality Continuum Beyond Design

Tilanka Chandrasekera

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