Проблема атмосферы у Г. Беме и ее отношение к цифровой культуре

Abstract

This article is devoted to a relatively new aesthetic concept, the concept of atmosphere. In the second half of the 20th century, due to the overcoming of the understanding of the aesthetic as a field of art and the emergence of the tendency to appeal to sensual experience, the idea that aesthetic perception and aesthetic experience are possible not only in the context of art events, but also in the space of everyday life is becoming increasingly relevant. The aesthetics of atmosphere arises from the aesthetics of everyday life. The first to declare the concept of atmosphere as a separate aesthetic theory was H. Böhme (1937–2022). The immediate predecessors of the concept of atmospheres are the theoretical positions of G. Schmitz and W. Benjamin. The aesthetics of atmospheres explores the states that arise in the process of the relationship between the subjective and the objective factors and in their material, emotional interaction. This article analyzes H. Beme’s concept of atmosphere, as presented by him in his works: “‘Atmosphere’ as a fundamental concept of the new aesthetics”, “Atmospheric Architectures: The Aesthetics of Felt Spaces”, “Architektur und Atmosphäre”. A special place in H. Beme’s aesthetic theory of atmospheres is occupied, first, by the concept of “ecstasy of things” introduced by him, which allows us to speak of the relatively objective nature of atmospheres, and, second, by the problem of the production of artificial atmospheres. Most studies of atmosphere as an aesthetic category consider atmosphere in the context of architecture, urban environment, design, etc. This article attempts to explore the atmosphere in digital space. At present, digital space has already lost its representational and in principle auxiliary position in relation to the human being, and has become a space for the realization of possibilities, the functioning of which was not represented in the human being’s being. The specific possibilities of the digital require a special analysis of the aesthetic, capable of exploring the digital space in its entirety. The article suggests that the concept of atmospheres is a productive way to work with digital space, which is shown on the example of such digital space phenomena as metavelves and ASMR-video. The study showed that the concept of atmospheres is convenient for working with digital space, especially due to the fact that with its help it is possible to carry out successful analysis not only of visual and auditory components (characteristic for classical aesthetics), but also of other ways of aesthetic perception.