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At osphä e : Gesti te ‘äu e u d si li he Wah eh u g

3rd interdisciplinary conference illusion immersion involvement

November 2-3, 2012, University of Applied Science Kiel

“eei g o eself se si g. Atmospheric perception in the experience of installation and

performance art

Introduction
It is a great pleasure for me to be here and to have the opportunity to share my thoughts about
atmospheres and how they are experienced. Atmospheric perception has been an important aspect
of my research on contemporary Installation Art and the kind of spectatorship that is associated with
it. In my lecture I will present a few outcomes of that research. In addition to works of Installation
Art, I will also discuss two works of Performance Art, since they allow me to address the topic of this
conference in a more inclusive way.
My main point of interest will be the ie e s experience of being involved in a work of art,
rather than being confined to the role of a detached observer. In my view, this experience of
involvement constitutes the main aesthetic effect of both Installation and Performance Art. I will
show how I think this experience is triggered and argue that atmospheric perception is a crucial part
of it.
The structure of my lecture is as follows: 1) First, I will describe what I consider to be
characteristic aspects of Installation and Performance Art, as well as of the kind of spectatorship that
they prompt. 2) Secondly, I will introduce the concepts of e i o e t a d aestheti engagement
that were coined by the American philosopher Arnold Berleant and in my view perfectly describe the
experience of involvement that I have just mentioned. I o de to la if Be lea t s aestheti theo , I
will link it to He a “ h itz o ept of aestheti atte tio , and then apply it in an analysis of the
work of contemporary artist Olafur Eliasson. 3) Finally, I will elaborate on the significance of
atmospheric perception for inciting the e pe ie e of aestheti engagement .

1. Experiencing installation and performance art

Installation and Performance Art gained p o i e e i the 96 s a d 70s, when they were seen as
particularly innovative and experimental. At that time, the boarders between the two artistic forms
were not yet fixed. These works by Allan Kaprow and Robert Withman, for instance, combine
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elements of both [SLIDE]. Works like these we e desig ated at that ti e as E i o e ts a d

Happe i gs, te s that a e o e suita le to a app oa h concerned with the aesthetics of
reception. I stallatio a d Pe fo a e efe to the a ti it of the a tist, ho i stalls or performs
the o k of a t; E i o e t a d Happening, on the other hand, refer to how these works present
themselves to and are experienced by viewers.
In the rather conservative 1980s, Installation and Performance art were somewhat
marginalized but they enjoyed a revival in the 1990s, when they were finally incorporated by the
mayor institutions of the Art World. Museums of modern and contemporary art shifted their focus
from the preservation and art historical interpretation of art works towards the manifold experiences
that viewers might have of them. Apart from this new type of experience-oriented museum,
Installation and Performance Art were also embraced by the more transitory platforms that
nowadays dominate the contemporary art scene: biennales, festivals and art fairs. Apparently,
current global high culture embraces ephemerality and creates a constant hunger for intense
immediate experiences. Installation and Performance Art are perfect media for artistic reflections on
this particular state of being.
Currently, the term Installation Art refers to spatial – and usually also temporal –
arrangements of objects, images, texts, sound, light etc., which together constitute an artificial
environment that encloses the viewer. Usually, Installations have a site-specific aspect; they closely
relate to the places where they are installed. The task assigned to the viewer is to immerse herself
into this artificial environment and enact its structure by trying to establish relationships among its
various components.
To give an example, the installation Ballads, by Armenian-French artist Sarkis, was installed
this summer in the former submarine wharf in the harbor of Dutch city of Rotterdam. This space is
currently exploited by the local museum Boijmans van Beuningen for showing large scale installation
works. “a kis installation comprised, among other things, sound, colored light and various sculptural
and video works, some of them preexistent, others specifically created for this occasion. The
installation also included the Futuro (1968), a futuristic mobile holiday home, designed by the Finnish
architect Matti Suuronen. The most impressive and dominant element of the installation was a huge
carillon, constructed from several tree trunks supporting the bells. This carillon constantly played
Litany for the Whale, a composition by John Cage for two singers who take turns to imitate the call of
a hale. O iousl , “a kis hoi e of i st u e t sig ifi a tl ha ged the ha a te of this o k of
music, substituting the notion of undersea wild life with a notion of the sacred.
Viewers were invited to wander or bicycle around the installation and climb into the Futuro,
where they could watch video works in an intimate ambience; they could sit and listen to the
carillon, have a drink at a bar that was integrated into the space, or glance through catalogues of
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“a kis o k, alo g ith that of othe artists and architects that inspired him, such as Pieter
Saenredam, Le Corbusier and Peter Zumthor, the latter of which is renowned for working with
atmospheres.
We are dealing here with an extensive and complex artificial environment that requests
viewers to immerse themselves into it and explore it from the inside. There is no way of experiencing
a work like this from an external position; neither can the images that I show here afford you an
adequate idea of the experience of the work in real space/time. Two dominant aspects of the work –
sound and light – are impossible to be adequately reproduced. A recording of the carillon cannot
transmit the experience of how the music resounded in space. As for the light, its actual effect was
contingent on the weather and the time of the day. Any photographic reproduction of this effect is
specific for a particular moment. What is more, photographs cannot convey the dynamic perspective
of an embodied viewer, who moves across the space in her very own way, driven by her personal
interests. A video recording would have given you a faint idea of this, but it would have been
so eo e else s passage through the work; not yours.
In order to really get an idea of the kind of experience that such a work allows for, it has to
be explored in real time and space. This exploration involves a sensory acuteness to the atmosphere
of the place, as well as to the various components of the work, which in their mutual interplay add to
its over-all atmosphere. Further, the experience of an installatio i ol es the ie e s receptiveness
to the occurrence of voluntary and involuntary memories and associations, which are triggered by
this particular ambience and, i the ie e s e pe ie e, get entangled with it. Installations seduce
their viewers to inscribe themselves into the work of art. The experience of doing so might be
described as performing in a play that viewers project into the scene in which they find themselves.
Thus, the experience of a work of Installation Art involves the projection of an event, which is on the
one hand imaginary but on the other hand triggered by an actual environment that involves the
viewer as an embodied being.

The experience of a work of Performance Art is slightly different. Central to Performance Art is an
actual event that the viewer is invited to witness, and sometimes also to participate in. The co-
presence of an artist-performer and the audience enhances our sense of the authenticity of this
event and of the immediacy of our experience of it. In performances from the 1970s, this sense of
authenticity and immediacy was often employed to entrap the viewers in situations in which they
would experience a strong tension between aesthetical and ethical demands. Performances involving
acts of self-mutilation of the performer, for instance, confronted the audience with the near
impossibility of passively enduring the spectacle of another human being tormenting herself.
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More recent works of performance art seem to investigate the precarious relationship
between ethics and aesthetics in a more subtle way, aspiring to a fragile balance rather than a
conflict between those two attitudes. For instance, in The Artist is Present [SLIDE] from 2010,
performance artist Marina Abramovic constrained herself to sitting silently and motionlessly on a
chair in the middle of the MoMA in New York, for three months (6 days a week, 7 hours a day).
Viewers were invited to take turns sitting opposite of the performer, looking at her, while she would
simply return their gazes. Surprisingly, this seemingly simple situation was experienced by the
viewers as deeply moving, as is suggested by the series of photographic portraits of visitors that were
taken by the museum during the show [SLIDE]. Many viewers started to cry or made gestures that
expressed their state of being emotionally affected.
Arguable, the ie e s e otio al affe tio as the ai e e t staged this o k. Ho
exactly this event was triggered is a bit of a mystery – neither the artist nor the curator fully
anticipated such a strong effe t. I guess that it as set off a o i atio of A a o i s ha is a
and the situation in which the encounter between performer and audience took place. The sitti g
sessio s were staged in the middle of an empty gallery space with a rather cool and aloof ambience,
well-lit by strong spotlights. Viewers had to wait for hours, if not for days, to take their turn and sit
with Abramovic. When they finally got their chance, their reactions were closely observed by
museum guards, other visitors, and the eye of the camera. I imagine that being so relentlessly
exposed, together with the stillness that the participants were obliged to observe, created a strong
se se of o e s own vulnerability, which probably enhanced the emotional reactions. With other
words, the ambience did not only contribute to but was actually part of the event.
These two examples were supposed to demonstrate the entanglement of environment and
event that informs the experience of Installation and Performance art and facilitates the ie e s
experience of involvement. Although this involvement is generally acknowledged, theoretical
reflections on this kind of spectatorship are still in their baby-shoes. Especially within the field of art
historical scholarship the long tradition of treating art works as objects with an intrinsic aesthetic
value has obstructed the formation of a full-fledged a ou t of the ie e s pa t i the aestheti
process. In what follows I suggest that concepts and approaches from the field of Environmental
Aesthetics might help to accomplish this task.

2. E viro e tal perceptio a d Aesthetic e gage e t

T o o epts that I fi d pa ti ula l useful a e the o epts of e i o e t a d of aestheti

e gage e t , hi h a e at the e t e of A old Be lea t s iti gs o E i o e tal Aestheti s. To
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Berleant, e i o e t, ithout the defi ite a ti le the , is not the physical world that surrounds us,
as traditional notions of the term would have it. Rather, environment occurs in our perceptual and
active involvement with the world. Berleant states that,

Environment arises out of the reciprocal interchange between my self as the source and
generator of perception and the physical and social conditions of my sensations and actions.
When these coalesce into coherence, we can speak of e i o e t. (1992: 132)

So, e i o e t desig ates the unity of topographical qualities and human sensibilities, which
characterizes active, lived experience (ibid.). Consequently, the awareness of this unity, which
Be lea t efe s to as e i o e tal pe eptio , e tails a ele e ta a a e ess of the pe ei e s
own state of being, a basic sense of self.
This motif of self-awareness resounds in the concept of aesthetic engagement , which
stresses the pe ei e s lively and profound involvement with whatever it is she aesthetically
perceives (Berleant 1991). In that respect it seems a very promising concept for describing and
analyzing the experience of involvement prompted by Installation and Performance Art. Yet
unfortunately, the concept remains a bit vague, as Berleant restrains from providing a clear-cut
definition. His approach is mainly descriptive. Surveying a number of particular instances of aesthetic
engagement, he merely specifies some general characteristics of this experience. He mentions a
strong sense of the continuity of a human being and the material world, a heightened sensory
acuteness, a focus on the immediacy and directness of the experience, accompanied by multifaceted
resonances of memory and imagination. Again, this seems to aptly describe the way in which works
of Installation Art and Performance Art are experienced.
Another point that remains unclear is the exact relationship between environmental
perception and aesthetic engagement . Both concepts are used to indicate the unity of a perceiver
and the material world in the act of perception. This seems to imply that the aesthetic experience is
ipso facto a keen awareness of this unity, and hence synonymous with environmental perception.
Such an account runs a certain risk of blurring the specificity of the aesthetic mode of experience.
In order to clarify the relationship between environmental perception and the particularity of
aesthetic experience, without losing grip of their intimate connection, I resort to He a “ h itz
concept of aesthetic attention (ästhetische Andacht). It indicates a mode of experience that allows us
to observe and contemplate our own states of bodily affection, without either denying their
immediacy and authority or losing ourselves in being subjected to their impact. In being aesthetically
attentive we slightly defer the immediate impact of our bodily states to the prospective realm of
anticipation. In so doing, we can not only experience how particular bodily states actually feel, but
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also how they give rise to memories and associations. The latter are aspects of what Schmitz calls
u folded p ese e i o t ast to the p i iti e p ese e of our bodily states. This explains how
sensory awareness can become the source of a more refined experience that endows bodily feelings
with meaning.

To test the heuristic value of these theoretical musings, I would like to consider two installations by
contemporary artist Olafur Eliasson. His work in general has set out to offer models for experiencing
and understanding our reciprocal relationships with our living environment. Eliasson himself has
expressed this general aim of his work i the ph ase “eeing ou self se si g , hi h I quote in the
title of my lecture (Eliasson 2002).
The concern with reciprocity is articulated already in an early work with the intriguingly
simple title Beauty (1993). The installation consists of a bare and darkened space with a sprinkler
installation that produces a curtain of water droplets, and a lamp that projects light on that curtain. If
viewers look at the water from a certain perspective, they will see a spectrum of light, like in a
rainbow. Without the viewer there is only water and light; nothing else. It is the acute presence of
the viewer, her willingness to see what might be there to be seen, and the effort she makes to find
out what that is, that turns the arrangement into a phenomenon whose effect on a human being is
aptl des i ed the o k s title. This work does not only afford an experience of beauty, but it also
alerts us to our own share in perceiving something as beautiful, as well as to our desire for beauty.
Strikingly, Eliasson uses the same term as Berleant to indicate the experience of reciprocity of
perceiver and perceived by calling it a form of engagement. He further stipulates that this
e gage e t entails an attention to time, to movement and to changeability. (Eliasson 2009: n.p.)

In his more recent work, Eliasson employs extremely sophisticated technologies to prompt
environmental engagement. He refers to his high-tech installations as experience-machines or
phenomenon-makers (Birnbaum 2002: 25; Seeing yourself seeing, 2008). Ironically, these experience-
machines often produce illusions of natural phenomena or natural surroundings. His well-known
installation The Weather Project (2003; see May 2003), produced for Tate Modern in London,
mimicked a sunset, complete with foggy atmosphere. The useu s o u e tal foyer, the so-
called Turbine hall, was bathed in a warm yellowish-orange light that made visitors settle down and
linger there for a fairly long time. Mounted on the ceiling were huge mirrors that reflected the whole
scene from above and allowed the visitors to see themselves as part of the scene. Some visitors
responded to this by creating shapes and symbol with their bodies.
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To g eat eg et I ha e t ee a le to ph si all e perience the work myself but

everybody who has and who I have spoken to, seemed to be deeply and lastingly moved. This ability
to deeply move the viewers and inscribe itself into their memory is characteristic of installation art.
The Russian-born artist Ilya Kabakov, a pioneering practitioner and theoretician of installation art,
ascribes this ability especially to the creation of an atmosphere.

3. Atmospheric perception in the experience of Installation and Performance Art

In a series of lectures on installation art Ilya Kabakov has described atmosphere as the clearly
defined face of a particular place that immediately presses itself on a visitor and obliges her to feel,
think and behave in a particular way (Kabakov 1995, 244, 312). He observes that sensing the
atmosphere of an installation amounts to the initial experience that a viewer will have of the work in
its totality. Installations, as we have already seen, cannot be surveyed from an external position but
have to be investigated from the inside, step by step. Kabakov argues that this close investigation is
constantly accompanied or alternated by an awareness of its overall atmosphere, which is sensed
from the very beginning and then gradually refined. Se si g a i stallatio s at osphe e is oth the
initial experience of the work and a f a e fo o e s fu the i te a tio ith it, which includes the
occurrence of memories, associations and anticipations. Considering the significance of atmospheric
awareness, Kabakov meticulously explains how artists can create atmospheres.
Although Kabakov s lectures on Installation Art make an important contribution to the
understanding of atmospheres, I feel that he underestimates the ie e s sha e in it. Throughout his
lectures he tends to treat atmospheres as something that an artist can willfully construct and control.
The idea that atmospheres are powerful tools of manipulation also informs practices of
environmental design, such as the use of light and muzak in semi-public spaces, like shopping malls
and airports. This objectifying approach is quite opposed to Be lea t s o eptio of e i o e t as
the unity of topographical qualities and human sensibilities that occurs in lived experience.
Gernot Böhme seems to take an intermediate position in arguing that atmospheres
o stitute a i - et ee , et ee e i o e tal ualities a d hu a se si ilities (Böhme 2001).
In order to be able to describe and analyze this grey area, he has distinguished five atmospheric
types or characters and specified what it is that mostly produces them. I will attempt to show, by way
of two examples, how this typology can be used as a critical tool to analyze the experiences afforded
by works of art. Installation and Performance art.
In the case of Olafu Eliasso s Weather Project it is quite obvious that the o ks
atmosphere depends mainly on the correlation of light, humidity and spatial proportions, along with
the isito s behaviour. I Böh e s te i olog this a ou ts to the type of atmospheric characters
that he calls synesthetic, because they are primarily experienced in terms of intermodal perception.
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This type of atmosphere is most strongly experienced in terms of our own state-of-being, of the
quality of our own presence as part of a particular environment. Intermodal perception is especially
enhanced by the way in which Eliasson uses light. Although the light comes from a clearly visible
source, it is mainly experienced as a modification of the space.
Tate Mode s a hite tu e st esses the previous industrial function of the building, which
used to be a power station. The Turbine hall is the part of the building that most strongly evokes its
history (SLIDE). Its monumental scale and industrial look are impressive but also rather aloof and
overpowering. Eliasso s i te e tio oth st esses a d itigates the i pa t of that spa e o the
visitor. His sun disc is an entity that is equally impressive and overpowering but the warm light that it
emits (note the synaesthetic metaphor) has a soothing effect. This effect is enhanced by the misty
atmospheric condition, which softens the hard architectural shapes. I imagine that the combination
of light and mist makes the visitor feel almost tenderly embraced by a space that, on the other hand,
retains its awe-commanding monumentality. This monumentality is even stressed by the mirrors on
the ceiling, which make the space appear double its actual size. The mirrors also provide the visitors
with an image of themselves as a tribe of tiny ants basking in a hospitable universe. The viewers are
part of the scene and observe themselves being part of it.
But to do justi e to Eliasso s o k it is i po ta t to ote that although at osphe i
perception is a crucial aspect of it, the work is not only about that. Experiencing his work
characteristically involves a moment of disillusionment, in which the mechanism of the experience-
machine is revealed to the viewer. In The Weather Project disillusionment occurs as soon as the
ie e app oa hes the su a d discovers that it is actually a half-circular semi-transparent disc with
electrical light bulbs fitted behind it. The exhibition catalogue specifies them as mono-frequency
lamps, a type of lamp frequently used in street lighting. The kind of light that these lamps emit
belongs to urban rather than natural surroundings. The upper half of the sun turns out to be a
reflection of the half-circular disc in a mirror. The blurred contours of that mirror image cause the
illusion of radiation. So, the most realistic effect comes down to merely a reflection of an artificial
construction.
This al ulated o e t of disillusio e t does ot dest o the o k s at osphe i effe t,
but adds another layer to it. Like a Brechtian alienation effect, disillusionment prevents the viewers
from immersing themselves uncritically in the atmospheric effect, which opens the opportunity of
contemplating what one feels, as well as the conditions in which these feelings occur. In regard to his
Weather Project Eliasson has pointed out that even our experiences of a phenomenon as concrete as
the eathe a e i fo ed ediatio s , su h as a hite tu e, ai -conditioning, the weather
forecast or simply the memories and expectations that inform our actions and perceptions. Eliasson
invites viewers to become aware of this multilayered tissue of mediations and negotiate their
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position within it. His aim is not to entertain viewers ut to e a ipate the , to borrow an
expression of Jacques Rancière. Like Rancière, Eliasson plays upon the double meaning of the word
se se by stating that he a ts the ie e to ake se se of the o ld se si g it , i a a hi h
is engaged, critical and self-aware (Seeing yourself seeing, 2008; Rancière 2009).

Engagement en self-awareness are also crucial to my second example, a work of

performance art by British-German artist Tino Sehgal. Sehgal also ealized a o k i Tate Mode s
Turbine hall recently. But the work that I will be discussing was presented this summer in Kassel, at
Documenta 13. It was called This Variation but I only got to know this title afterwards, for the
exhibition atalogue did t gi e a i fo atio a out this o k e ept fo the pla e he e it as
pe fo ed. To a isito fa ilia ith “ehgal s o k this is no surprise; Sehgal is known for not
providing any information about his work whatsoever, nor allowing for his work to be documented.
His work is, and has to remain, an event that occurs at a certain place and time and involves fleeting
interactions between performers and audience. The only thing that remains is the memories and
stories told by whoever has experienced the event live.
This Variation was staged in a dark and empty space. When I entered it, the darkness was so
pervading that I could hardly see my own feet. But I sensed very strongly the presence of other
human beings. The space was saturated with their smell, their body heat, and probably other
energetic emissions that language cannot express. Shuffling my way through darkness, I felt
profoundly disorientated, crowded and utterly afraid of bumping into someone. When that actually
happened, it came as a elief e ause it as t pai ful o a k a d. As e e e all aught i the
same situation, everybody was very careful, alert and attentive to the physical presence of the
others.
While I was still trying to adjust to this situation, the about twenty performers, who shared
the space with the audience, started to utter sounds, that slowly evolved into a rhythm until they
were enthusiastically singing, clapping, dancing and a bit later also telling stories. Meanwhile my eyes
had gotten adjusted to the darkness; furthermore it appeared that either the performers or a hidden
mechanism could regulate the light, so that at times you could actually see, although the light
remained dim most of the time.
I stayed in that space for about 20-30 minutes, but could have stayed much longer. For as
soon as the initial feeling of crowdedness and disorientation had evaporated, I experienced a kind of
intimacy and an exchange of physical and emotional energy that was absolutely thrilling. I felt that I
was more and more becoming a participant of the party that was going on here, without having to do
a thi g that I did t a t to do. Although the performers were dancing all around me, and
sometimes directly addressing me with their movements, I could just stand there or move around a
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little, observe the performers and my fellow visitors, and feel connected to them through the warm
and intimate atmosphere that we all shared. In contrast to my initial experience I now felt
completely safe, welcomed and absorbed into this strange and anonymous but somehow very real
community.
‘etu i g to Böh e s typology of atmospheric characters, the at osphe e of “ehgal s
pe fo a e ould e des i ed as ei g p edo i a tl communicative. “u h at osphe es depe d
o hat Böh e alls physiognomies. This atego i ludes all so ts of o -verbal communication,
such as involuntary movements, gestures, body postures, the rhythm, volume and intonation of
voices etc. He argues that in perceiving physiognomies we feel addressed as a person; physiognomies
appeal to our sense of life, to our attitude towards our own life as well as that of other living beings.
And indeed, the sense of well-being that I experienced hile pa taki g i “ehgal s o k involved a
feeling of trust in the others – performers as well as viewers –, and a sense of our shared
espo si ilit fo se u i g e e od s safet a d ell-being. I that se se, pa taki g i “ehgal s
performance was a profoundly ethical experience.
I have included this example to show that atmospheres constitute themselves and are
perceived not only in space but also in time. Atmospheric perception involves an awareness of time-
based phenomena such as rhythm and movements, as well as a keen awareness of how things –
i ludi g o e s o state of ei g – change in time. Atmospheres may be described, as Elisabeth
Ströker does, as emotionally tuned spaces (gestimmte Räume) (Ströker 1987) but we should keep in
mind that the actual resounding occurs in time as well as in space.

To conclude
In my lecture I have tried to show that the concept of atmosphere is crucial to an understanding of
the mode of the experience employed by both Installation and Performance art. Designating a
perceived unity of environmental qualities and human sensibilities, the concept can help us to
understand how human beings are continuous with the world in which they dwell. Works of
Performance and Installation Art stage atmospheric perception. In so doing they offer viewers the
opportunity to see the sel es se si g, to at h a d observe themselves in the act of perceiving.
The lack of a need to immediately re-act provides space and time for reflection on our perceptual
acts. This reflection is not the kind of detached contemplation that mainly involves our intellectual
apa ities. At its o e the e is a judge e t of feeli g, a p e og iti e e aluatio of the ualit of o e s
presence. This evaluation springs from an intensified experience of the here and now. However, by
giving rise to memories and anticipations of future events, it extends into the past and future as well.
In that sense we can say that the aesthetic experience that springs from atmospheric perception
engages the viewer in a holistic way. I emphatically consider aesthetic engagement to be a valuable
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experience in itself. Nevertheless I think that if future practices in the fields of architecture, urban
design, ecology and education would be more strongly informed by this mode of experience, this
might help to improve the quality of life on this planet.
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References

Berleant, A old, The Aesthetics of Art and Nature, in Salim Kemal; Ivan Gaskell (eds.), Landscape,
Natural Beauty and the Arts, Cambridge: Cambridge University Press, 1993, pp. 228–243.

Berleant, Arnold, The Aesthetics of Environment, Philadelphia: Temple University Press, 1992, p. 10.

Berleant, Arnold, Art and Engagement, Philadelphia: Temple University Press, 1991.

Bi au , Da iel, Interview: Daniel Birnbaum in Conversation with Olafur Eliasson, in: Grynsztejn
et. al., Olafur Eliasson, London/New York: Phaidon, 2002, p. 25.

Böhme, Gernot, Aisthetik. Vorlesungen über Ästhetik als allgemeine Wahrnemungslehre, München:
Fink, 2001.

Eliasso , Your Engagement has Consequences, in: Emma Ridgway (ed.), Experiment Marathon:
Serpentine Gallery (exhib. cat.), Reykjavik: Reykjavik Art Museum, 2009, pp. 18–21. I quote the PDF
e sio of that te t that is a aila le o Eliasso s e site: www.olafureliasson.net.

Eliasson, Olafur, Seeing Yourself Sensing, in: Madeleine Grynsztejn et. al., Olafur Eliasson,
London/New York: Phaidon, 2002, pp. 124–127.

May, Susan (ed.), Olafur Eliasson. The Weather Project (exhib. cat.), London: Tate Publishing, 2003.

Rancière, Jacques, The Emancipated Spectator, London: Verso, 2009.

Seeing yourself seeing, video featuring Olafur Eliasson explaining his work, MoMA, 2008.

Schmitz, Hermann, Der Leib, der Raum und die Gefühle, Bielefeld/Basel: Edition Sirus, 2009.

Ströker, Elisabeth, Investigations in Philosophy of Space, translated by Algis Mickunas. Athens, Ohio
and London: Ohio University Press, 1987, pp. 19-47.

Well e , Da id E., “ti u g , Ästhetische Grundbegriffe. Historisches Wörterbuch in sieben

Bänden, vol. 5, Stuttgart: Metzler, 2003, pp. 703-733.