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Download Complete Cover Design by Chris Fernald Photograph by Jessie Alperin ATMOSPHERE Volume One, Issue One Fall 2020 Table of Contents Dedication (1) Picturing Atmosphere Kate Moger | preface | 10 (2) People Near the Storm James Engell | poetry |18 (3) Airborne: Air as a Social Medium Eva Horn | essay | 20 (4) Emotional Landscapes Emily Fritze | visual art | 24 (5) It Blows where it Wishes: The Wind as a Quasi-Thingly Atmosphere Tonino Griffero | essay | 30 (6) Art History and the Political Ecologies of Air Sugata Ray | essay | 40 (7) Ritorno - Return Jess Lane | poetry | 48 (8) ‘Atmospheres’ of Art and Art History Mark Cheetham | essay |50 (9) Mary Byrd Land Petra Kuppers | poetry | 62 (10) “Humid Air, Humid Aesthetics” Sara Gabler Thomas | essay | 64 4 (11) Darkening Atmospheres Ellen Tani | essay | 76 (12) Three Poems Yi Feng | poetry | 88 (13) Changing Tensions: Viral Atmospheres as Quality Compass Andreas Rauh | essay | 92 (14) Atmosphere Musical Environment Brad Nath | audio | 98 (15) Shuai Yang’s Wombs: Affection Interpretations of One-Child Policy Yubai Shi | essay | 100 (16) Critical Terms in the Atmospheric Sciences Troy Sherman | poetry | online (17) Unmourning Atmosphere: Mary Webb’s Alternate to Elegy Jayne Lewis | essay | 112 (18) Surface Tension Eric Chu | fiction | 124 (19) Strange Times and Weird Atmosphers Marco Caracciolo | essay | 132 (20) Appendix The Editors | suggested reading |138 5 EDITORIAL BOARD EDITOR-IN-CHIEF & ARTISTIC DIRECTOR Jessie Alperin SENIOR EDITORS Sarah Dailey Inês Forjaz de Lacerda Kate Moger MANAGING EDITOR Charles Keiffer HEAD COPY-EDITOR Troy Sherman CONTRIBUTING EDITORS Chris Fernald Mariana Fernández Sara Gabler Thomas Zach Metzger Yubai Shi Jenna Wendler CONSULTING EDITOR(S) Eli Llera FACULTY ADVISOR Emmelyn Butterfield-Rosen BRAND IDENTITY & VISUAL DESIGN Chris Fernald EDITORIAL DESIGN & LAYOUT Jessie Alperin 6 ADVISORY BOARD Anna Abramson (Amherst College); Emmelyn Butterfield-Rosen (Williams College Graduate Program, History of Art); Ina Blom (University of Chicago); Marco Caracciolo (Ghent University); Mary Ann Caws (City University of New York); Mark Cheetham (University of Toronto); Margareta Ingrid Christian (University of Chicago); Kate Elkins (Kenyon College); Caroline Fowler (Clark Art Institute); Susan Stanford Friedman (University of Wisconsin, Madison); Mort Guiney (Kenyon College); Eva Horn (University of Vienna); Alison James (University of Chicago); John Lansdowne (American School of Classical Studies); Jesse Matz (Kenyon College); Jussi Parikka (Winchester School of Art); Craig Santos Perez (University of Hawai’i, Manoa); Sugata Ray (University of California, Berkeley); John Paul Ricco (University of Toronto); Lytle Shaw (New York University); Ellen Tani (Independent Scholar); Orchid Tierney (Kenyon College); Jennifer Wild (University of Chicago); Dora Zhang (University of California, Berkeley) OVERVIEW Venti: Air, Experience, and Aesthetics invokes both the number ‘twenty’ and ‘the winds.’ Conceived in the year 2020 amidst the COVID-19 pandemic and the BLACK LIVES MATTER protests, the journal is a forum for discussions centered on the year’s foregrounding of air, its related themes, and historical, interdisciplinary, and critical resonances. Venti asks: how do we become aware of something invisible and of things that are always in the air — such as the air itself? Investigating this query in a series of thematic issues, Venti explores the indexical qualities of air and our awareness of it through effects and affects. Venti’s inquiries into the field of the atmospheric humanities unfold through a series of multidisciplinary readings on a range of topics. Attempting to fulfill the impossible task of grounding air, Venti strives to do so through the unfolding of questions and answers within each particular issue and across all twenty. Containing interdisciplinary investigations and concluding each issue with a thematic definition allowsVenti to become not only a collective but also a collection, acknowledging and preserving relevant approaches to understanding the world and its atmosphere today. VENTI journal AIR, AESTHETICS, EXPERIENCE venti-journal.com 7 8 Dedication 2020 has been host to multiple crises in the air. They are all too familiar by now: amidst global climate catastrophe, a virus that targets our lungs has affected lives, economies, and sharply refigured our social and political atmospheres. Simultaneously, the death of a Black man at the hands of the police has laid bare the conditions of austerity and violence that the United States’ racialized poor must endure. Though having inspired many who believe in a future where people might one day be allowed to breathe easy, these tragedies continue to stifle the air of thousands across the globe. We take this moment to thank medical workers for their tireless efforts to heal us from a devastating pandemic; we thank those who continue to do the work and speak out, holding us all in bated breath for the change we know is yet to come. We also take a moment of silence to recognize and remember all those who have lost their breath in 2020. It is to these people, and to those who love and continue to fight for them — for all of us — that Venti is humbly dedicated. We recognize these events could neither be fully spoken to nor accounted for by a dedication. At its best, intellectual dialogue supplements and informs action. Venti, in its simple bid to think about the air, might be just one tool among many for weathering this tragic, tempestuous, yet hopeful moment. As we continue to move through the topic of air, we believe it is our duty not only to mourn but to also derive inspiration. 9 Preface PICTURING ATMOSPHERE Kate Moger “We can take the story apart, we can find out how the bits fit, how one part of the pattern responds to the other; but you have to have in you some cell, some gene, some germ that will vibrate in answer to sensations that you can neither define, nor dismiss.” -Vladamir Nabokov on Kafka’s Metamorphosis1 Atmosphere is difficult to imagine, existing as more of a feeling than a concrete concept. To write about atmosphere is to embark upon the difficult task of pinning down a concept that is, quite literally, up in the air. Philosopher Gernot Böhme describes atmosphere, those feelings and tensions saturating the space around us, as “suspended in the air.”2 Similar to mood lighting or perfume, atmosphere charges the air with a certain attitude that inhabits and shapes our experience. It describes the feeling that forms between subjects and objects in a specific place at a specific time. In its most literal sense, atmosphere refers to a meteorological concept: the gases that surround our Earth and, by extension, each and every one of us. Atmosphere is not just in the air, it is the air. There are a number of connections between air, breath, and speech within our colloquialisms; pretension is “hot air” while small talk is “shooting the breeze.” We inhale air and exhale language. The interrelations of air, atmosphere, and language make it somewhat ironic that, when sitting down to write this preface, I found that words were not enough. I turned to the American photographer Alec Soth’s elegiac monograph Niagara because images can provide a way of expressing atmosphere that language alone cannot.3 It seems that to talk about atmosphere is really to talk around it. The inarticulable becomes identifiable as a negative space. The first time I encountered Niagara was in 2016. I ran into a friend of mine visiting New York City, himself a photographer, in a cramped subway car. As we attempted to cram a year of our lives into a 45-minute commute, he pulled out his phone and showed me a series of images that — even displayed on a cracked LCD screen — affected me deeply. Since then I have spent countless hours with Soth’s monograph, each time a revelation. The entire collection of photographs, taken between 2004 and 2005 across both sides of Niagara Falls, emanates a looming sense of heartsick longing. The topography is studded by wedding chapels, pawn shops, and hotels with names that sound as though they are making some sort of promise, like the Happiness Inn or the Bonanza Motel. These faded signs flank drab structures and nondescript, outdated interiors: two polyester towels twisted into swans resting on a drab floral coverlet, the kitschy wall of mirrors surrounding a heart-shaped jacuzzi. It is clear, looking at these images that are both overflowing and entirely empty, that Soth’s central concern lies not entirely with the subjects of his photographs but, rather, with the construction of an atmosphere. The first photograph in Niagara (Figure 1) confronts the viewer head-on with an orderly two-story red brick structure. Its cheery yellow doors, their faces punctuated by painted white diamonds, serve as funky remnants of a tourism boom that occurred in the 1950s and 1960s. Rather than a glamorous destination for young lovers to elope, the tawdriness of the towns surrounding Niagara Falls reflects a general state of economic decline. The American side of the falls has double the national average for unemployment; a specter of loss underlies the book as almost a condition of the landscape. The retro zig-zag ironwork baluster, also painted white, formally echoes the white parking divider lines cutting across the black asphalt, extending toward the viewer like fingers outstretched in desire. 11 Preface Figure 1. Reading Soth’s Niagara. Photograph by the author. 12 Preface Figure 2. Casino interior, Las Vegas, Nevada.
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