Established theories of atmosphere are very useful in framing the concept of affective atmosphere, especially to the extent that they relate to Deleuzian affect and a sense of becoming (as opposed to being). The concept of atmosphere reflects a pre-rational, undifferentiated in-between, in the here and now, the merging of or the blurring of lines between perception, space, and event into a becoming that is aesthetically experienced (and shared) during production, and captured in the moving image. For Böhme (2017),
perception is basically the manner in which one is bodily present for something or someone or one’s bodily state in an environment. The primary ‘object’ of perception is atmospheres. What is first and immediately perceived is neither sensations nor shapes or objects or their constellations, as gestalt psychology thought, but atmospheres, against whose background the analytic regard distinguishes such things as objects, forms, colors, etc. (23)
For Anderson (2009), ‘the atmosphere has long been associated with the uncertain, disordered, shifting and contingent – that which never quite achieves the stability of form’ (78). Atmospheres reflect an expressed world rather than a represented world (79); they ‘“radiate” from an individual to another’ in a ‘dyadic space of resonance’ (80). For Griffero (2016), atmosphere is an excess resisting representational attitude; it is a resonance of the felt space – a vibration in which ‘the perceived and the perceiver meet and even merge isomorphically and predualistically’ (6). For Schmitz, Müllan, and Slaby (2011), atmosphere reflects a life in the ‘primitive present’, fusing the ‘here’, ‘now’, ‘being’, and ‘I’ in space, which is a ‘predimensional, surfaceless realm manifest to each of us in undistorted corporeal experience’ (245). Furthermore, for them, ‘emotions are atmospheres poured out spatially. An atmosphere […] is the complete occupation of a surfaceless space in the region of experienced presence’ (255).