Ambient Media: Japanese Atmospheres of Self by Paul Roquet PDF

By Paul Roquet

ISBN-10: 0816692440

ISBN-13: 9780816692446

Ambient Media examines song, video artwork, movie, and literature as instruments of atmospheric layout in modern Japan, and what it skill to exploit media as a source for private temper law. Paul Roquet strains the emergence of ambient kinds from the environmental track 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 exhibits how ambient aesthetics provides affordances for reflective flow, rhythmic attunement, embodied protection, and concrete coexistence. Musicians, video artists, filmmakers, and novelists in Japan have improved on Brian Eno’s inspiration of the ambient as a method producing “calm, and an area to think,” exploring what it potential to domesticate an ambivalent tranquility set opposed to the doubtful horizons of an ever-shifting social panorama. providing a brand new means of knowing 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 opinions of temper legislation that see it essentially as a kind of social pacification, Roquet makes a case for realizing ambient media as a neoliberal reaction to older modes of collective attunement—one that permits the oblique shaping of social habit whereas additionally permitting participants to suppose like they're those eventually in control.


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Extra resources for Ambient Media: Japanese Atmospheres of Self

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Listened to in isolation, as an inauthentic echo of the self, this same impersonality becomes unbearable. ” The narrow emotional range of Muzak is easier to tolerate in a public setting like a café or a shopping arcade. There, the simplified emotions of the music match the shallow emotional façades deployed when interacting or coexisting with strangers in the city. ”28 The lightweight, narrow emotionality of the music diffuses the potential threat of being in close proximity to so many strangers.

It would spare them the trouble of paying attention to their own banal remarks. And at the same time it would neutralize the street noises which so indiscreetly enter into the play of conversation. 32 Satie’s emphasis on furnishing music as a way to “fill up those heavy silences” and “neutralize the street noises” strongly parallels the emotional and cognitive orientation of the commercial BGM to come. / 40 / BACKGROUND MUSIC OF THE AVANT-GARDE Crucially, however, his plea to treat music as if it were a chair “in which you may or may not be seated” is delivered in a playful and ironic tone.

All music was going to help determine me in one way or another. The difference BACKGROUND MUSIC OF THE AVANT-GARDE / 25 / between traditional BGM and the ambient music I might voluntarily listen to was the ambient music helped sustain my illusions, letting me carry on believing I was ultimately the one in control. Fueled by a similar antipathy to being told how to feel, critical responses to background music have for a long time focused on resisting emotional manipulation, promoting instead a supposedly more neutral set of emotional cues.

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Ambient Media: Japanese Atmospheres of Self by Paul Roquet


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