Atmosphere

There can be no justice that is not spatial. Against a recent tendency to despatialise law, matter, bodies and even space itself, this book insists on spatialising them, arguing that there can be neither law nor justice that are not articulated through and in space.

Spatial Justice presents a new theory and a radical application of the material connection between space – in the geographical as well as sociological and philosophical sense – and the law – in the broadest sense that includes written and oral law, but also embodied social and political norms. More specifically, it argues that spatial justice is the struggle of various bodies – human, natural, non-organic, technological – to occupy a certain space at a certain time. Seen in this way, spatial justice is the most radical offspring of the spatial turn, since, as this book demonstrates, spatial justice can be found in the core of most contemporary legal and political issues – issues such as geopolitical conflicts, environmental issues, animality, colonisation, droning, the cyberspace and so on. In order to ague this, the book employs the lawscape, as the tautology between law and space, and the concept of atmosphere in its geological, political, aesthetic, legal and biological dimension.

Written by a leading theorist in the area, Spatial Justice: Bodies, Lawscape, Atmosphere forges a new interdisciplinary understanding of space and law, while offering a fresh approach to current geopolitical, spatiolegal and ecological issues.

Atmosfer merupakan bagian yang tak terpisahkan dari planet bumi. Setiap lapisan di atmosfer mengandung peranan yang sangat vital untuk keberlangsungan kehidupan makhluk hidup yang ada di bumi. Manusia sebagai salah satu makhluk hidup yang berada di bumi seharusnya menjaga keberadaan atmosfer, misalnya dengan mencegah kerusakan lapisan ozon. Lapisan ozon adalah salah satu komponen penting dalam lapisan atmosfer bumi.

Atmosphere, Climate, Culture and Relationship as mutual nexus
Organizations are life-worlds, in which the prevailing atmosphere and climate sways and affects the members and their relationship to each other living in it. This organizational atmosphere and climate has also a reciprocally influencing relationship with the culture of an organization, which in turn also impacts the peer-relation at work.
To make a case for the significance of this mutual nexus to the quality relationships within the organizational milieu, it is helpful to contrast between different questions and scenarios. How would working in a ‘silence climate’ (Milliken et al. 2003), where employees choose to ‘‘withhold their opinions and concerns about organisational problems’’ (Morrison and Milliken 2000), compare with a climate of honesty where all are ready to hear and face the ‘‘truth’’ (Collins 2001)? How would a climate of stability, safety and trust compare with one of uncertainty, insecurity, and distrust? What is the difference between climates of optimism and hope in contrast to those of pessimism and gloom? Can climates of stress and cynicism be transformed into climates of effective energy and humor or irony? How does a climate for diversity affect organisational and work related attitudes and perceptions? (Hicks-Clark and Iles 2000) and, how would work in climates of motivation (Pareek 1989) compare to that in climates of demotivation (Wunderer and Kuepers 2003)?
At the macro level, why do constant change initiatives trigger some organizations to thrive, while others are failing and, what makes an ambiance for encouraging or stifling innovation and development? In which way do constrains - due to resources, functional or structural limitations within the workplace environment – influence the quality of a climate and thereby the relationships in the organization. For example how do radical cost-cutting practices, social transformations and increasing job insecurity affect relationships between employees at workplaces? What difference do various styles of leadership make for the organiational climate and subsequently to the relationship among employees?Questions such as these illustrate the significance of climate on the nature of interactions and relationships between peers in organizations.
These peer- or workplace relationships involve a range of interconnected psychological, organizational, and sociological factors, which serve to influence interactions between peers. Both positive and negative forms of relationships come under scrutiny. For example, some employees are happy to share their information and knowledge, show engaged commitment or citizenship behaviour favourable to others, while others engage in micro-political games, mobbing, bullying, or other forms of incivility. As to which of the above attitudes and behaviours are exhibited may be due to the effects of individual personalities. On the other hand, we can also assume that individuals are influenced by externalised, organisational forces, perhaps charactised in terms of structure or function that affect attitudes and behaviours.
An organisational climate creates and helps to set a certain tone and atmosphere of an organization and can work to facilitate or impair work relationships. Thus, the climate of an organization is one of the key influencing forces, which co-constitute and affects individual employees' perceptions, feelings, thinking and acting’s as well as the (social) relationship towards each other and visa versa. Being interested in this relational nexus, the following focuses on the influencing dynamics and interplay between a climate (as characteristic internal work environment) of an organization and the quality of peer work relationship. For investigating this interrelations, this chapter will be organized in the following way. First basic ideas for understanding climate of organizations in terms of objective, (inter-)subjective and more integral approaches are briefly introduced. Then the relationship between climate and dyads at work are present specified. Afterwards the emotional and ethical climates are outlined as examples of influential atmospheres of peer work relationships. Finally some practical implications and by concluding some open perspectives discussed.

Energy systems can be vulnerable to climate change. This paper summarizes the contribution of their authors to a few strategic studies, research workshops, development forum and international conferences related to Climate and Energy. It presents a review of the impacts that climate change may have throughout the energy chain and identifies current knowledge gaps and areas for future research development. One of the greatest challenges is how to assess impacts which may occur as a consequence of the projected increase in the intensity of extreme weather events: the majority of current methodologies rely on past experience but this may not be a sufficiently good guide for planning and operational activities in the coming decades. Also, climate impact assessments on energy planning and operation need to take into account a greater number of scenarios, as well as investigate impacts on particular energy segments. Therefore, we identify energy segments for which little climate impact research has been conducted. Finally, because climate impact assessment for energy systems is a relatively new research field, it is expected that methodological developments will increase in the near future with a consequent broadening of the knowledge base on the subject.

For Gaston Bachelard, movement is key to air’s visibility. In Air and Dreams: An Essay on the Imagination of Movement ([1943] 2001), he suggests that air not only moves: it inspires. Though Bachelard’s work on the imagination of the elements is concerned with poetic language, it is so intimately bound up with materiality, movement and a “potential for becoming” that it lends itself well to cinema. Each of the elements (alone or in shifting combinations) will bestow its own sensuous continuity and dynamism upon particular “groups of images”.

Through an analysis of Robert Eggers’ The VVitch: A New England Folktale (2015), this article examines how the materiality of earth and air has a special role to play in folk horror. My contention is that mood in the cinema often involves a making visible of the air and that The VVitch is particularly invested in moody, imaginative interminglings between air, atmosphere and the environment.

Many factors, both obvious and subtle, influence customers' store patronage intentions. Using videotape technology that enabled us to experimentally manipulate the number of visible store employees, number of customers, and music, we test the relative importance of wait expectations and store atmosphere evaluations on patronage intentions. These constructs are found to be critical antecedents of store patronage intentions in the context of the service-intensive retail store at which the model was tested. We also find support for the direct effects of gender on wait expectations and store atmosphere evaluations. We discuss some implications for retailing research and practice.

Managers renovate malls to keep up with newer shopping centres and retail formats that erode traffic. This paper investigates shoppers' psychological processes that trigger changes in spending behaviour in the renovated mall. Renovation has a direct impact on the perception of the mall atmosphere and an indirect one on shoppers' hedonic and utilitarian values, satisfaction, and spending. Renovation affects shoppers' spending through the perception of utilitarian shopping benefits.

a b s t r a c t CO 2 sequestration by cyanobacteria and green algae are receiving increased attention in alleviating the impact of increasing CO 2 in the atmosphere. They, in addition to CO 2 capture, can produce renewable energy carriers such as carbon free energy hydrogen, bioethanol, biodiesel and other valuable biomolecules. Biological fixation of CO 2 are greatly affected by the characteristics of the microbial strains, their tolerance to temperature and the CO 2 present in the flue gas including SO X , NO X . However, there are additional factors like the availability of light, pH, O 2 removal, suitable design of the photobioreactor, culture density and the proper agitation of the reactor that will affect significantly the CO 2 sequestration process. Present paper deals with the photobioreactors of different geometry available for biomass production. It also focuses on the hybrid types of reactors (integrating two reactors) which can be used for overcoming the bottlenecks of a single photobioreactor.

This chapter, which is based on my book "Atmosphären erleben", Berlin: Akademie-Verlag 1994, was published in "Designing Atmospheres", ed. Jürgen Weidinger, Berlin: Universitätsverlag 2018, 41-54. A  German version was published four years earlier.

"Andreas Philippopoulos-Mihalopoulos opens the book with his latest contribution to his comprehensive project of re-theorising spatial justice with a piece titled ‘Spatial Justice in a World of Violence’. Through a close reading
of the photographic series Fortunes of War, Life Day by artist Eric Lesdema,
Philippopoulos-Mihalopoulos is interested in how these images reveal peripheral
spaces at the edge of violence which impose an ethic of spatial responsibility on the
viewer in the act of turning away and looking elsewhere. While no acts of explicit
violence are shown in the images, we are left with no doubt that violence is ubiquitous
along the spatio-temporal continuum. This continuum of violence between
bodies raises questions of complicity and responsibility. Do we submit to a state
of affairs in which space is saturated with the everyday and immobilised violence
of the ‘engineered atmosphere’ – or is it also possible for bodies to withdraw from
the atmosphere, through ruptures and folds within the continuum? Such a notion
raises the ethical possibility of the ‘emergence of spatial justice’." Chris Butler and Edward Mussawir (eds)

This short discussion piece engages with an influential phenomenological approach to atmospheres, focusing on the work of Hermann Schmitz. Against a background of agreement on the contours of an understanding of atmospheres and their relevance, the text presents a number of critical considerations, in part comparing and contrasting Schmitz's approach with that of cultural theorist and affect studies' pioneer Brian Massumi.

A very heavy intensity rain in Jakarta and surrounding areas on 21 February 2017 caused flooding in 54 areas. Rain recorded at Kemayoran meteorological station was 179.7 mm/day. Based on the BMKG threshold, it includes extreme weather conditions. This paper discusses the atmospheric conditions on very heavy rain phenomenon. The atmospheric dynamical analysis used ERA Interim data 0.125x0.125 degrees resolution for divergence, vorticity, humidity (RH), and streamline. The atmospheric physical analysis used NOAA/NESDIS 50 km resolution SST anomaly data, RMM index data for MJO analysis, and dipole mode index data. The upper air analysis used Soekarno-Hatta Meteorological Station sounding data. The atmospheric dynamics indicated negative value on divergence and vorticity supporting convective cloud formation. Lower layer RH was high, lower RH aloft. The streamline showed convergence wind pattern. From the physical aspects, SST anomaly in Jakarta waters was positive and warm sea surface temperature, RMM index indicated moderate MJO phase 2 followed by weak negative dipole mode index, supporting convective clouds formation. Convective sounding parameters before the event indicated unstable atmospheric conditions, strong convective potential. Himawari 8 IR satellite imagery showed the convective cloud cluster in Jakarta.

Laboratory of Archeo-geophysics
www.phys.uni-sofia.bg/bul/departments/ucsrt/agpl/index.html
The laboratory was created in 2006 for the implementation of space technology (Ground penetrating radars) for the survey and geophysical exploration of archaeological sites in Bulgaria
Paleoluminescence Laboratory
The laboratory uses methods and equipment developed at the Physics Department. They are subject to three Bulgarian inventions, and one Canadian patent of our laboratory’s team. Some of the devices developed, and used by the laboratory have no analogues abroad, others are subject to numerous attempts of coping or modifing by other laboratories around the world.

What would it mean to understand nationalism as an atmosphere? This article makes a theoretical contribution to cultural geographical works on ‘affective atmospheres’ as well as to critical approaches to the study of nationalism by addressing this question. It examines how nationalism operates affectively and atmospherically through a discussion of the event of the London 2012 Olympic Games and the ‘happy atmospheres’ of being together that circulated in the course of those Games. The key claim of the article is that addressing the nation’s affective, emotional and atmospheric resonances is critical for understanding how nationalism endures and, furthermore, how it appears especially difficult to critique. As such, the article points to different ways in which thinking about nationalism as an ‘affective atmosphere’ builds upon the notion of ‘everyday nationalism’ but also takes it further by inviting an attentiveness to the different tonalities and intensities of nationality and shifting the focus from a subject identity or bounded community to the question of how affective forces congeal around particular objects and bodies and echo as part of an assemblage. Finally, this article makes a contribution to debates around the relationship between affect, atmosphere and politics by asking how national affective atmospheres might be resisted.

This article takes its point of departure in the current attention to the materiality of objects in museum display. Recent literature Pye, 2007) has stressed the need for museums to focus more explicitly on objects and their capacity to create experiences. While appreciating this approach the article argues that in order to understand the perspectives opened by such experiences, we need to go beyond a focus on objects as such. On basis of analyses of two ethnographic exhibitions it is argued that rather than the objects per se, what is at the root of museum experience is atmosphere e the in-betweenness of objects and subjects. Rather than making the absent (past or distant) present, atmosphere creates a presence as such, an affective space which disturbs our everyday concepts of the world. This perspective makes it possible to consider the museum not as a storehouse of the past, but as a bridgehead (Runia, 2006) to the future, allowing us for a short while to imagine futures that go beyond our present conception of the world.

Résumé

Cet article étudie la théorie atmosphérique comme opération de décentrement de la métaphysique. Il présente le projet Sphères en tant que critique du milieu de vie humaniste en montrant que les écumes reposent sur l’entrée d’air, ce qui implique le renversement de la métaphysique du sol, du solide et du lourd. L’analyse architecturale des îles humaines permet ensuite d’expliquer l’individualisme se nourrissant de la tendance à l’aérien, à la gâterie et au luxe dans la grande « serre » climatisée. Il se demande enfin ce qu’impliquerait, pour la pensée des milieux, la climatologie politique promise par Sloterdijk.

In this interview with OASE Juhani Pallasmaa discusses how atmospheres are constructed in, for instance, painting, literature and music, adjoining professional fields that, according to him, also reveal the essences of the field of architecture. Concerning the role of the architect, Pallasmaa identifies a need for a certain balance between naivety and expertise to develop a sensibility for atmospheres. Pallasmaa argues that atmosphere is immediately experienced as a unity, in which all senses are simultaneously at work. The experience of atmospheric quality in architecture, then, is by definition an embodied experience. However, since architecture is subject to use, atmosphere is by no means a merely individual task. Pallasmaa notes, moreover, that it is crucial for architects to empathise with users, clients and other perceivers of architecture, no matter how anonymous or distant they may seem. He thus considers, next to embodiment, compassion as a necessary skill for architects to be able to build atmosphere.

The substrate-bound nanowires were sonicated in ethanol and deposited on oxidized degenerately doped silicon wafers or copper grids for electrical transport and TEM measurements, respectively. Electron-beam lithography was employed to define contact regions with subsequent deposition of Ti/Au electrodes, as described previously 3 . Effective mobilities were calculated according to the method of ref. 26. Additional details are provided in the Supplementary Information. The integrity of the SiO x gate dielectric in the coaxially gated nanowire transistors was confirmed by the low, ,5 pA, gate to sourcedrain leakage currents. The continuity of the p-Ge outer shell was verified by two-terminal resistance measurements on the shell itself.

The unique and evolving nature of the Precambrian geological environment in many ways was responsible for significant differences between Precambrian clastic sedimentary deposits and their Phanerozoic-modern equivalents. Some form of plate tectonics, with rapid microplate collisions and concomitant volcanic activity, is inferred to have led to the formation of greenstone belts. Explosive volcanism promoted common gravity-flow deposits within terrestrial greenstone settings, with braided alluvial, wave=storm-related and tidal coastline sediments also being preserved. Late Archaean accretion of greenstone terranes led to emergence of proto-cratons, where cratonic and rift sedimentary assemblages developed, and these became widespread in the Proterozoic as cratonic plates stabilised. Carbonate deposition was restricted by the paucity of stable Archaean terranes.

In this chapter, I consider the lived relationship between atmosphere and place, drawing on three works by British-African novelist Doris Lessing (1919–2013), who regularly in her writing offers lucid accounts of place atmospheres in London, the city she emigrated to from Southern Rhodesia (now Zimbabwe) shortly after World War II [2]. These three works are:
 Lessing’s 1969 novel, The Four-Gated City, which depicts the emigrant experience of a young Southern Rhodesian woman named Martha Quest, who arrives in battle-scarred London immediately after World War II (Lessing 1969);
 Lessing’s 1960 In Pursuit of the English, a journalistic account of the author’s first year in London (Lessing 1960);
 Lessing’s short story, “Dialogue,” published in the 1978 Stories and one of her most encompassing depictions of the lived complexity of place atmospheres (Lessing 1978).

La noción de la atmósfera ha devenido en los últimos años materia de interés, tanto en el campo de la arquitectura y el diseño, como desde la teoría socio-política.

El acercamiento teórico propuesto por el filósofo Gernot Böhme sobre la concepción y generación de las atmósferas, así como el estudio de la transmisión de afecto, nos brinda la oportunidad de investigar acerca de las sugerentes relaciones que se establecen entre objeto-atmósfera-sujeto.

The topic of shared emotion is an active area of investigation in contemporary phenomenological research. Despite this upsurge of interest in the phenomenology of shared emotion, a critical analysis of the role atmosphere plays in cases of shared emotion remains underexplored. My objective in this paper is to demonstrate the importance of atmosphere as a key tool in the understanding of shared emotion. To clarify this role, I develop a twofold strategy. First, by way of stage setting, I begin by identifying the requirements for the co-constitution of shared emotion. Second, in response to existing models of shared emotion, I argue that the concept of atmosphere can play a critical role within genuine cases of shared emotion in two key respects. First, through diffusing emotion in public space, an atmosphere serves as a common ground between people, in turn generating the conditions for mutual self-other awareness. Second, though being instituted as the bearer of value within cultural practices, modes of bodily comportment, and societal norms, an atmosphere serves as a space of attunement, in turn generating a sense of togetherness.

In 1983 the British police adopted their first public order policing manual, laying the foundations of a secretive archive. The manuals and training materials produced in the intervening years provide an untapped repository of affective thought. This article reads the 1983 and 2016 training materials for their atmospheric insights. It develops the term police ‘atmotechnics’ to describe interventions that are specifically designed to affect the crowded atmosphere of protest or other disorder. The manuals reveal a gradual shift from interventions designed to evince fear and awe, to ones that seek to calm crowds. But more importantly, they underline a shift from a linear understanding of atmotechnics (as a prelude to ‘the use of force’), to an affective feedback loop where specialised officers are deployed to ‘sense’ mood changes among crowds, allowing senior strategic and tactical decisions to take account of atmospheric conditions.

Since the 1950s, views of Earth from above have been critiqued for provoking detachment from and decontextualization of human, terrestrial concerns. These critiques thus establish Earth’s enveloping atmosphere as the ultimate context for meaningful and grounded accounts of humanness, and outer space as a site for abstract, generalizable knowledge. But in outer space, the explanatory work done by “context” is put in question, because spacefaring humans must attend to basic and constantly shifting conditions for life that lie beyond “context” on Earth, including breathing. Attention to humans in real and speculative space environments reveals context as a naturalizing device that establishes universal nature/culture distinctions through recourse to grounding terrestrial ontologies. [objectivity, comparison, relativism, outer space, verticality, horizontality, exploration]

In Australia as elsewhere, shared annual commemorative ceremonies such as those on Anzac Day, 25 April, help to connect residents to particular versions of the nation, to the past and to each other. This article investigates what can be gained by pairing the concept of commemoration – a set of practices and narratives that draw together national identity, collective and individual memory, grief and mourning, regular ritual, collectivity and material, aesthetic representations of war and death – with atmosphere and its dynamic combination of space, sensory experience, affect, individual memory and experience and the material environment. It introduces the notion of 'commemorative atmospheres' to explore how such events 'feel', arguing that spatially-specific affective experience can work to connect individuals to the nation. The article builds on scholarship that explores how memorial sites symbolically express aspects of national history and memory, linking this to accounts of how atmospheres can be constituted by architectural form and the material and aesthetic aspects of space. It uses recent research on Australian Anzac Day ceremonies to identify the different spatial elements that contribute to the moods of these events, and explores how these interweave with first-hand experience of the ceremonies and established national narratives. It also considers the sensory perception of commemorative events, identifying how these aspects link to discursive elements, helping to frame national identity for attendees at these ceremonies and potentially for a wider national audience.

Today an enriching museum visit is likely to leave a great many visual and
increasingly also auditory and tactile impressions. Different genres of museums go about the challenge of engaging visitors sensuously in different ways, and ethnographic museums seem to be at the forefront, whereas fine art museums may show a little more hesitancy in respect of engaging visitors in a diversified sensory display. Nevertheless, the tendency is clear: more and more often, museum-goers are invited to participate in museum activities through various senses, and just since this research project was launched a few years ago innovative multisensory exhibitions seem to have popped up all over, hereby varying the historical predominant visual mode of expression in the museum world.
The evocative power of smell engulfing one’s state of being has also led to an increasing interest being shown in the exploitation of smell in order to add an atmospheric ‘touch’ to the museum visit. Yet, there seem to be some weighty challenges for the museum world to deal with if it is to provide us with olfactory museum experiences in the way it intends. For as enriching as museum-staged olfactory experiences potentially are, they are just as likely to fall flat, turning into some kind of toe-curling gimmick. This challenge seems to reflect a lack of knowledge mirrored in the academic field of museology that fails to account for the context-dependency of smell in experience. We experience smell in accordance with the surroundings in which it occurs; the significance of smell is never static and even the same odorous compounds may be associated very differently when the context changes.
In order to take into account a socio-cultural understanding of the world of
odour, this article-based PhD dissertation seeks to expand the knowledge of atmospheric smell sensations within a dual framework including the museum venue and the given everyday culture about which it seeks to communicate with its visitors. The work offers a conceptual discussion of atmospheric smell in situ and ex situ within contemporary medical culture, that is, hospital-based and museum-staged. Prompted by the ambition to acknowledge the museum’s need to have its activities rooted in thorough investigation of the given culture on show, the dual analytical disposition is a sine qua non spanning varied fields and disciplines. The conceptual discussion offered in the thesis is spurred on by philosophical phenomenology predominantly paired with sociological and anthropological theory. It finds support in empirical work from both a hospital and a museum setting. Thus, it draws on a three-month ethnographic fieldwork conducted in 2012 in a Danish hospital, including auto ethnographic observations from roughly two hundred and fifty operations with patients and health care providers interacting in the operating theatres. Beyond self-experienced curating, the analysis is further informed by a hundred and fifty short-length visitor interviews conducted in an art gallery.
Conceptually, the thesis suggests how smell is experienced as atmosphere
touching mood-wise in accordance with the given situation in which it occurs. In the hospital, neither patients nor doctors in general gave much voice to smell; patients were troubled, worried or confused, and doctors habitually turned their attention away from smell—as skilled inattentive noses—in order to focus on their more important work. Intruding body odours breaching the uniform ‘scentless silence’ of the environment, however, provoked explicit handlings to avoid discomfort observed in the interaction between nurses and patients. Undesirable smells were handled through washing, airing, changing sheets and covering up, but also through the employment of humour demanding from the nurses a socio-cultural competence in controlling the signal value of smell. Moreover, the thesis suggests not only how queries about the material presence or absence of smell show a significance in marking the atmosphere and social interaction between patients and medical health care workers, but also how the
presence of absence of smell crucially shows the way in which the hospital
atmosphere is perceived as a lack of or longing for homeliness, or is taken as the relief of any unpleasant smell, signalling ‘cleanliness’. In the museum, in turn, visitors were less troubled, at a distance from the cultural norms of a restricted olfactory hospital environment, plus encouraged by the museum venue to show a raised sensuous awareness. Subsequently, visitor interviews revealed how a museum-staged hospital atmosphere of an art installation was directly addressed owing to its smell. Curiously, this observation speaks against prevailing literature portraying smell as the ‘mute sense’, and what is more, the museum display did not alter smell curatorially. Rather, smell was gestured through non-olfactory effects and it was put in words metonymically, gesturing a reversibly synaesthetic atmosphere of a hospital. Visitor conversations revealed how smell could be poignantly picked up in situ, yet not until frequenting the museum venue ex situ was the olfactory atmosphere of a hospital addressed with greater awareness; relived and digested. Both in situ and ex situ settings were
characterised by atmospheric smell experiences that were independent of the material presence of smell.
Over the last decade museology has shown increasing interest in the inclusion of smell in exhibitions, and often questions revolve around how olfactory displays can be technically installed. Phenomenological analysis of atmospheric smell in and ex situ renders the possibility of varying and qualifying this debate. It argues that atmospheric smell is experienced independently of its physical presence.
Atmospheric exhibitions might smell, but not all scent- and smell-based
exhibitions are atmospheric in the way intended. Subsequently, this knowledge holds the potential to enrich the visitors’ engagement with cultures on display.

Hélène Frichot's conversation with Olafur Eliasson reveals the depths to which his work mobilises atmosphere as an agent of human experience and social action, prompting a subjective transformation. Light and colour play significant parts in culling affective atmospheres open to multiple perceptions focused on the ephemeral. Olafur Eliasson, Notion motion, Museum Boijmans van Beuningen, Rotterdam, the Netherlands, 2005 An interior wall dissolves vertiginously into ripples of light. In conversation 33 32 Olafur Eliasson, The inverted shadow tower: La situazione antispettiva, BMW Art Car programme, 2004 An interior pavilion flooded with light shelters a cluster of children. Olafur Eliasson, Serpentine Gallery Pavilion, London, 2007 Set in Kensington Gardens, the pavilion spirals up to the level of the surrounding tree canopy. The interior is intended to create a forum for events and the promise of open discussion. A ramp rises gently creating a promenade for the visitor up through the pavilion.

Three monthly 24-hour samples of airborne aerosols (PM 10 and PM 2.5 ) were collected at an urban and a rural site of the North central, semi-arid part of India during May 2006 to March 2008. Seven trace metals (Pb, Zn, Ni, Fe, Mn, Cr and Cu) were determined for both sizes. The annual mean concentration for PM 10 was 154.2 µg/m 3 and 148.4 µg/m 3 at urban and rural sites whereas PM 2.5 mean concentration was 104.9 µg/m 3 and 91.1 µg/m 3 at urban and rural sites, respectively. Concentrations of PM 10 and PM 2.5 have been compared with prescribed WHO standards and NAAQS given by CPCB India and were found to be higher. Weekday/weekend variations of PM 10 and PM 2.5 have been studied at both monitoring sites. Lower particulate pollutant levels were found during weekends, which suggested that anthropogenic activities are major contributor of higher ambient particulate concentration during weekdays. Significant seasonal variations of particulate pollutants were obtained using the daily average concentration of PM 10 and PM 2.5 during the study period. PM 2.5 /PM 10 ratios at urban and rural sites were also determined during the study period, which also showed variation between the seasons. Three factors have been identified using Principal Component Analysis at the sampling sites comprising resuspension of road dust due to vehicular activities, solid waste incineration, and industrial emission at urban site whereas resuspension of soil dust due to vehicular emission, construction activities and wind blown dust carrying industrial emission, were common sources at rural site.

This article reflects on Trieste's representation as 'the ghost of its Habsburg past' (Hametz, M. 2014. 'Presnitz in the Piazza: Habsburg Nostalgia in Trieste.' Journal of Austrian Studies 47 (2): 131-154. )a city that laments the irreversibility of timeto explore instead the ways in which nostalgic attachments to the empire have come under suspicion. Drawing on interviews, literary texts, and atmospheric data (McCormack, D. 2014. 'Atmospheric things and circumstantial excursions.' Cultural Geographies 21 : 605-625. doi:10.1177/ 1474474014522930), I explore the narrative and performative strategies adopted to reframe the political and cultural relations with the empire. By discussing how events and places expected to celebrate the Habsburg legacy refuse to become nostalgic, I trace the emergence of contested feelings for the empire to explore how nostalgia becomes an ambivalent sentiment that is discursively and performatively re-appropriated and mobilized to attach and detach Trieste from the empire.

The main objective of this text is to warn against atmospherics. However comfortable it might
appear, an atmosphere is politically suspicious because it numbs a body into an affective embrace
of stability and permanence. It becomes doubly suspicious because a body desires to be part of the
atmosphere. For this reason, I rethink both affect and atmosphere ontologically rather than
phenomenologically. I argue that an atmosphere is engineered by subsuming individual affects
to what I call, following Sloterdijk, an atmospheric glasshouse. I suggest that this happens in
four steps: a distinction between inside and outside through partitioning; inclusion of the
outside inside; illusion of synthesis; and dissimulation. In order to do this, I begin with air as
the elemental paradox of ontological continuum and rupture. I carry on with the passage from air
to atmosphere while retaining the discourse around continuum and rupture. Finally, I indicate a
way of rupturing the atmospheric continuum through the ontological movement of withdrawal
from the atmosphere. The ultimate goal of the article is to sketch a problematic of atmospherics
that puts together without synthesising an elemental ontology of continuum and rupture.

Non è affatto facile definire il paesaggio. Pur occupandosene in Occidente da oltre due secoli, né l'estetica né la geografia sono infatti mai pervenute a un'idea condivisa. E allora converrà, preso atto dell'arguzia semantica che ne fa al tempo stesso una cosa e la sua rappresentazione (Farinelli 1991), partire da una definizione minimale e di senso comune: il paesaggio è per noi una porzione di spazio, se si vuole di natura (con tutta l'ambiguità del termine), inclusiva del cielo sovrastante e individuata da un suo specifico "stile" emozionale. È appunto a questa tonalità sentimentale, effusa in una certa zona dello spazio pericorporeo (non geometrico ma vissuto e predimensionale), che ci riferiamo con il termine "atmosfera". Ed è quasi superfluo segnalare che proprio il cinema ha potentemente contribuito allo sviluppo di questa concezione atmosferica del paesaggio.