BULLOUGH’S ESSAY, “Psychical Distance as a. Factor in given some attention to psychical distance; N1nd Essays Edward Bullough (Stanford, California. , , et passim. 6 Edward Bullough, ‘Psychical Distance’ as a Factor in Art and an Aesthetic Principle,”. The British Journal of Psychology, V (June. The concept of “physical distance” developed by Edward Bullough in his well- known article1has come to be generally accepted as an aesthetic principle.
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It is, for this very reason, also an aesthetic principle. The consequence of a loss of Distance through one or other cause is familiar: History of Western Philosophy.
Van Camp They may be freely reproduced, so long as this complete citation is included with any such reproductions.
Distance, as I said before, is obtained by separating the object and its appeal from one’s own self, by putting it out of gear with practical needs and ends. Attempts to raise ‘culinary art’ to the level of a Fine Art have failed in spite of all propaganda, as completely as the creation of scent or liquer ‘symphonies. Nevertheless, a fog at sea can be a source of intense relish and bulpough.
Edward Bullough’s Concept of ‘Psychical Distance’
No categories specified categorize this paper. It is, of course, to be granted that the actual and admitted unreality of the dramatic action reinforces the effect of Distance. A New Look at Aesthetic Distance. Views Read Edit View history. Usually, though not always, it psychixal to the same thing to say that the Distance lies between our own self and such objects as are the sources or vehicles of such affections.
“Psychical Distance” (Edward Bullough)
The Aesthetic Experience of Video Games: In Defence of Psychical Distance. He will prove artistically most effective in the formulation of an intensely personal experience, but he can formulate it artistically only on condition of a detachment from the experience qua personal.
In languages, Bullough was a dedicated teacher who published little. But, as a matter of fact, the ‘assumption’ upon which the imaginative emotional reaction is based is not necessarily the condition, but often the consequence, of distance; that is to say, the converse of the reason usually stated would then be true: It is this interplay that makes it possible to take the concept of ‘Psychical Distance’ both as edwqrd act and as properties.
Gene Blocker – – British Journal of Aesthetics 17 3: Bolton – – British Journal of Aesthetics 17 1: It is practically impossible to fix this disstance limit, in the absence of data, and on account of the wide fluctuations from person to person xistance which this limit is subject.
Naoko Korita, Edward Bullough’s Concept of ‘Psychical Distance’ – PhilPapers
Closely related, in fact a presupposition to the ‘antimony,’ is the variability of Distance. Theoreticall y there is no limit to the decrease of Distance.
Indeed, without some degree of predisposition on our part, it must necessarily remain incomprehensible, and to that extent unappreciated. It was a convention at the time that articles in the Caian were signed with initials only.
Consequently, this distanced view of things is not, ddward cannot be, our normal outlook. Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy.
The reversal of perspective is the consequence of the loss of Distance.
This concept has the capacity to extend over the various forms of Art. It is not, however, in any of these meanings that ‘Distance’ is put forward here, though it will be clear in the course psychival this essay that the above mentioned kinds of distance are rather special forms of the conception of distance as advocated here, and derive whatever aesthetic qualities they may possess from distance in its general connotation.
Bradley on Censorship and Psychical Distance. Perhaps the most obvious suggestion is that of actual spatial distance, i. Many an artist has seen his work condemned, and himself ostracized for the sake of so-called ‘immoralities’ which to him were bona fide aesthetic objects.
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