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Мittlere Musik «третьих мест» и идея преображения в атмосферных исследованиях
This article examines the specifics of atmospheric regulation and circulation in the sound design of specially established “third places.” Third places are approached from the perspective of atmospheric research and analyzed from the perspective of a specific type of musical material, sometimes referred to as “third direction,” “third stream,” or—in another tradition—“middle music” (Mittlere Musik), with its associated so-called Muzak (music), which, through its means, facilitates atmospheric production. The concept of third places, which finally took shape in the late 1990s, quickly became obsolete due to objective and unexpected changes that altered the role of spatial localities, microstructures of sociality, and the establishment of new types of spatial and social connections. Music, when considered from the perspective of social functioning, from the very beginning questions its affective status as a mere means of emotional expression, with the alibi of mediation and entertainment. The persistent demand within the atmospheric turn for the inclusion of social aspects of the modern subject’s sensory structures, in the case of the forced constellation of music and space, helps to identify the strengths and weaknesses of the atmospheric approach. The idea of transformation and the approaching miracle, actively brought to the forefront in atmospheric discourses, clearly reveals the relationship