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2017•Behavioral and Brain SciencesRequires access

Distancing, not embracing, the Distancing-Embracing model of art reception

Stephen Davies

Open publisher page 1 citations

Abstract

Despite denials in the target article, the Distancing-Embracing model appeals to compensatory ideas in explaining the appeal of artworks that elicit negative affect. The model also appeals to the deflationary effects of psychological distancing. Having pointed to the famous rejection in the 1960s of the view that aesthetic experience involves psychological distancing, I suggest that "distance" functions here as a weak metaphor that cannot sustain the explanatory burden the theory demands of it.

About this research paper

What this paper is about

Despite denials in the target article, the Distancing-Embracing model appeals to compensatory ideas in explaining the appeal of artworks that elicit negative affect. The model also appeals to the deflationary effects of psychological distancing. Having pointed to the famous rejection in the 1960s of the view that aesthetic experience involves psychological distancing, I suggest that "distance" functions here as a weak metaphor that cannot sustain the explanatory burden the theory demands of it.

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OpenAlex reports 1 citations for this work. Citation counts describe recorded attention and do not establish research quality.

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Available abstract

Despite denials in the target article, the Distancing-Embracing model appeals to compensatory ideas in explaining the appeal of artworks that elicit negative affect. The model also appeals to the deflationary effects of psychological distancing. Having pointed to the famous rejection in the 1960s of the view that aesthetic experience involves psychological distancing, I suggest that "distance" functions here as a weak metaphor that cannot sustain the explanatory burden the theory demands of it.

Key concepts: Distancing, Social distance, Appeal, Metaphor, Psychology, Social psychology, Sociology, Aesthetics

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