Psychical distance’ as a factor in art and an aesthetic principle.
-Personal involvement has traditionally been characterized in terms of psychical distance. -Qualitatively, psychical distance reflects the non-utilitarian attitude that a person must adopt as a precondition for an aesthetic episode to occur. Quantitatively, psychical distance reveals the relative cloness that a person feels toward an aesthetic artifact or event as a conquence of interacting with it.
-psychical distance” as an “outlook,” a “metaphor,” a space that “lies between our own lf and such objects as are the sources or vehicles shaping our “affections,” defined as bodily or spiritual reactions involving nsation, perception, emotional states or ideas.
-Example of fog, some people feel it's bad some feel it's beautiful, as emphasize the ‘objective’ features of the experience, and by interpreting even our ‘subjective’ affections not as modes of our being but rather as characteristics of the phenomenon. the qualities of our experience are projected onto the stimulus.
-the sudden view of things from their rever, usually unnoticed side, comes upon us as a revelation, and such revelations are precily tho of Art.9月什么星座>惊天动地的反义词
情况英文-offers a unique synthesis of traditional opposites; subjectivity-objectivity, idealistic-realistic, nsual-spiritual, personal-impersonal, and individualistic-typical. Distance is therefore “one of the esntial characteristics of t he ‘aesthetic consciousness’”and of “the contemplation of the o bject”羽毛球网多高
-describes a personal relation, often highly emotionally colored, but of a peculiar character
旅行歌曲-articulated a principle of concordance to account for variations in taste whereby the success and intensity of a work’s appeal stands “in direct proportion to the completeness with which it corresponds with our intellectual and emotional peculiarities and the idiosyncrasies of our experience.梦见自己来月经了
-the abnce of such a concordance between the characters of a work and of the spectator is the differences of tastes.注册税务师报名
数字化城管-criticism requires the constant interchange from the practical to the distanced attitude.
-artist proves the formulation of an intenly personal experience.
-in appreciation and production , most desirable is the utmost decrea of distance without its disappearance.
Two ways of losing distance; 1.under-distance 2. Over-distance. \
Under-distancing: commonest failing of subject, crudely naturalistic, harrowing, repulsive in its realism.
Over-distancing: An excess of distance produces the impression of improbability, artificiality, emptiness or absurdity. It’s designed for whom has difficulty to ri spontaneously to any degree of distance.
-ther is no limit to the decrea ly only the usual subjects, but also personal affections, ideas, percepts or emotions, can be sufficiently distanced to be aesthetically appreciable.
-reaches average individual’s distance-limit. Distance is lost and appreciation either disappears or changes its character. When an individual’s distance-limit is higher than the artist’s, he will appreciate the work.
-the difference in the distance-limit between artists and the public is the source of
misunderstanding and injustice.
-special distance: the distance between an object and its appeal.
-all art requires a distance-limit beyond or within psychological formulation of a general characteristic of art, its anti-realistic nature---- never pretends to be nature and resists any confusion with nature.
-distance is the principal function of composition, by unification of prentment like symmetry, opposition, balance,rhythmical distribution of parts, anti-realistic features, marked impression of artificiality.
-Jack Bush. Color Field paintings. ud color in direct relationship to form. Disadvantage of special distance. Too much general applicability to invite a personal interest in the works, and too little individual concreteness to prevent them applying to us in all their force. Utmost decrea of distance without its disappearance.
