Psychical Distance as a Basis for Perception and Creative Participation

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11240%2F19%3A10396984" target="_blank" >RIV/00216208:11240/19:10396984 - isvavai.cz</a>

Výsledek na webu

<a href="http://10.1163/9781848885325_001" target="_blank" >http://10.1163/9781848885325_001</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Psychical Distance as a Basis for Perception and Creative Participation

Popis výsledku v původním jazyce

The central assumption of my thoughts in the following text is the conviction that, despite the numerous critiques, psychic distance remains as a main component of an aesthetic experience. I think, for example, about the disintegration of distance by active participation, which gives spectators the power over the representation of works of art. This false distinction between active participation and distance devalues the whole conception of distance to a passive or neutral norm - a formative process. So my intention is to reinterpret the concept of psychic distance through Gilles Deleuze&apos;s material form of sensation, multiplicity and becoming which are situated in the ontological level of works of art. I aim to verify the thought that Deleuze&apos;s philosophy offers a new way of grasping psychic distance through emphasizing its antinomy which places the paradox in the very centre of perception. This is one of the strategic analogies between Deleuze&apos;s thinking of art works as bodies without organs, continuously entering new alliances and psychic distance.

Název v anglickém jazyce

Psychical Distance as a Basis for Perception and Creative Participation

Popis výsledku anglicky

The central assumption of my thoughts in the following text is the conviction that, despite the numerous critiques, psychic distance remains as a main component of an aesthetic experience. I think, for example, about the disintegration of distance by active participation, which gives spectators the power over the representation of works of art. This false distinction between active participation and distance devalues the whole conception of distance to a passive or neutral norm - a formative process. So my intention is to reinterpret the concept of psychic distance through Gilles Deleuze&apos;s material form of sensation, multiplicity and becoming which are situated in the ontological level of works of art. I aim to verify the thought that Deleuze&apos;s philosophy offers a new way of grasping psychic distance through emphasizing its antinomy which places the paradox in the very centre of perception. This is one of the strategic analogies between Deleuze&apos;s thinking of art works as bodies without organs, continuously entering new alliances and psychic distance.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

60301 - Philosophy, History and Philosophy of science and technology

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Inhabiting the Meta Visual: Contemporary Performance Themes

ISBN

978-1-84888-532-5

Počet stran výsledku

6

Strana od-do

41-46

Počet stran knihy

183

Název nakladatele

Brill

Místo vydání

Leiden

Kód UT WoS kapitoly

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