Atmospheres: Aesthetics of Emotional Spaces
Book Details
Format
Hardback or Cased Book
ISBN-10
1472421728
ISBN-13
9781472421722
Publisher
Taylor & Francis Ltd
Imprint
Routledge
Country of Manufacture
GB
Country of Publication
GB
Publication Date
May 28th, 2014
Print length
180 Pages
Weight
416 grams
Dimensions
16.20 x 23.70 x 1.80 cms
Product Classification:
Philosophy: aestheticsPsychology: emotions
Ksh 27,900.00
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This book examines the role of atmospheres in daily life, and defines their main characteristics. Outlining the typical phenomenological situations in which we experience atmospheres, it assesses their impact on contemporary aesthetics. It puts forward a philosophical approach which systematises a constellation of affects and climates.
Originally published in Italian in 2010, this book is the first to address the theory of atmospheres in a thorough and systematic way. It examines the role of atmospheres in daily life, and defines their main characteristics. Outlining the typical phenomenological situations in which we experience atmospheres, it assesses their impact on contemporary aesthetics. It puts forward a philosophical approach which systematises a constellation of affects and climates, finds patterns in the emotional tones of different spaces (affordances) and assesses their impact on the felt body. It also critically discusses the spatial turn invoked by several of the social sciences, and argues that there is a need for a non-psychologistic rethinking of the philosophy of emotions. It provides a history of the term ''atmosphere'' and of the concepts anticipating its meaning (genius loci, aura, Stimmung, numinous, emotional design and ambiance), and examines the main ontological characteristics of atmospheres and their principal phenomenological characteristics. It concludes by showing how atmospheres affect our emotions, our bodies'' reactions, our state of mind and, as a result, our behaviour and judgments. Griffero assesses how atmospheres are more effective than we have been rationally willing to admit, and to what extent traditional aesthetics, unilaterally oriented towards art, has underestimated this truth.
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