By Paul Roquet
Ambient Media examines song, video artwork, movie, and literature as instruments of atmospheric layout in modern Japan, and what it ability to exploit media as a source for private temper law. Paul Roquet lines the emergence of ambient kinds from the environmental song and Erik Satie increase of the Nineteen Sixties and Seventies to the newer healing emphasis on therapeutic and relaxation.
Focusing on how an environment works to reshape these residing inside of it, Roquet indicates how ambient aesthetics promises affordances for reflective float, rhythmic attunement, embodied protection, and concrete coexistence. Musicians, video artists, filmmakers, and novelists in Japan have improved on Brian Eno’s suggestion of the ambient as a method producing “calm, and an area to think,” exploring what it capability to domesticate an ambivalent tranquility set opposed to the doubtful horizons of an ever-shifting social panorama. providing a brand new manner of realizing the emphasis on “reading the air” in eastern tradition, Ambient Media records either the adaptive and the alarming facets of the expanding deployment of mediated moods.
Arguing opposed to evaluations of temper law that see it essentially as a kind of social pacification, Roquet makes a case for knowing ambient media as a neoliberal reaction to older modes of collective attunement—one that allows the oblique shaping of social habit whereas additionally permitting contributors to believe like they're those eventually in control.
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Extra resources for Ambient Media: Japanese Atmospheres of Self
45 While this piece was written almost nine decades earlier, the sculptural way the piece dissolves the hard edge into the foggy background allowed it to serve as a catalyst for the 1970s shift from using atmosphere as a tool of productivity and provocation to a more autonomous and slightly sad style of subjective drift. Key to the ability of Satie’s music to allow for more open forms of subjectivation is its refusal of forward-moving harmonic series in favor of giving the listener more freedom in choosing how to relate to the music.
But really, I was alone only if the single kind of being-with that counted was being with other humans. At the hotel I was together with the music, or rather, the music wouldn’t leave me alone. I was becoming the type of subject the music allowed me to be, but in this case, it didn’t match my own desire for self-determination, my preference for a music leaving me to determine how I wanted to feel yet serving as a willing tool to help me get there. But this more pushy, more explicit form of atmospheric mood regulation wasn’t frustrating me just because it wasn’t respecting my demands for self-determination.
I had the music turned low so as not to be completely oblivious to the sounds around me, including the frequent bicyclists swerving around pedestrians on the sidewalk. After about forty minutes of walking, I was surprised to discover I had arrived at Shibuya faster than expected and without the usual fatigue from spending time on the noisy road. What had happened? I realized the music, even at low volume, had / 49 / / 50 / THE SOUND OF EMBODIED SECURITY FIGURE 3. The noise corridor of Shuto Route 3, Tokyo, as seen from Roppongi Hills.