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On 'psychical distance and 'significant form' in artwork (Bullough and Bell) - Essay Example

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Name: Instructor: Course: Date:      Essay on 'psychical distance and 'significant form' in artwork (Bullough and Bell) Physical distance refers to the connection that an individual has with an aesthetic work or object. Significant form refers to significant associations between color, shapes, lines and other sensory elements…
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Essay on psychical distance and significant form in artwork (Bullough and Bell)
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On 'psychical distance and 'significant form' in artwork (Bullough and Bell)

Download file to see previous pages... While Bell and Bullough’s notion differed, connections could also be established with regard to what the accurate aesthetic response is when looking at an object or work of art. Bell proposes a unique aesthetic sentiment in reaction to significant form, in objects or works of art. On the other hand, Bullough focuses on physical distance as an aesthetic principle and a factor in Art (Arnold and Iverson 63). This paper will look at Bullough and Bell’s views in response to the question. According to Bullough, distance plays an essential part in generating an authentic aesthetic response. Bullough supposes that there has to be a quantity of distance gained between an object or work of art and a viewer. This will make the observer understand the object or work of art. On the other hand, Bell’s views are draw from Kant. Both Kant and Bell agree that an object or work of art can neither be intrinsically moral nor cognitive. In addition, they both agree that the value of an object or work of art is found in its form alone. Bell’s notion of significant form is representative in its clarity. Bell perceives the aesthetic response on the basis of a global standard and the source of the aesthetic emotion in the work of art or object (Arnold and Iverson 73). ...
ut instead the viewer should separate himself emotionally and physically enough, so as to attain an accurate aesthetic response to an object or work of art. It is also essential to focus on a significant form of an object or work of art (Arnold and Iverson 76). Moreover, focusing on its significant form will assist an individual to focus at a work of art without preconceptions and predispositions and without being preoccupied by extraneous connections with the work or object of art. Second, according to Bullough, if a viewer does not position himself at an appropriate distance away from the object or work of art, he will become excessively enclosed in his own life. For example, in Othello, the jealous spouse looking at the play cannot realize it because he is so much entangled by how the play is personally affecting his life. In contrast, if the viewer is extremely far from the object or work of art, he will become a critic, and this will result in censorship. In Bell’s view, significant form will help stir the viewer’s aesthetic emotion. A person who is criticizing an art work may assist other viewers to observe form and experience the resultant emotions (Arnold and Iverson 78). This will make the emotions lofty and remarkable. Third, it may also be essential to approach an art object or work with a close physical distance. This will determine the effect of an art work on an individual. If the viewer is distant so far from work or object of art, he will not be interested on the manner in which the object or work of art affects him. For Bullough, it is essential for the viewer to be affected for them to experience any form of response. Nonetheless, from Bell’s view, impressive art works or objects get their magnificence, their influence, not from the viewer’s ...Download file to see next pagesRead More
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