By Werner Wolf, Walter Bernhart, Andreas Mahler
Readers who seem to be misplaced in a storyworld, contributors of theatre or cinema audiences who're moved to tears whereas looking at a functionality, beholders of work who're absorbed by means of the representations in entrance of them, avid gamers of laptop video games entranced by way of the fictitious worlds during which they interactively take part - all of those psychological states of creative immersion are variations of 'aesthetic illusion', so long as the recipients, even though hence immersed, are nonetheless residually acutely aware that they're experiencing now not actual existence yet life-like representations created through artefacts. Aesthetic phantasm is without doubt one of the such a lot forceful results of reception strategies in representational media and hence constitutes a strong allurement to reveal ourselves, time and again to, e.g., revealed tales, images and flicks, be they real or fictional. not like conventional discussions of this phenomenon, which are likely to specialise in one medium or style from one self-discipline in simple terms, the current quantity explores aesthetic phantasm, in addition to its opposite aspect, the breaking of phantasm, from a hugely leading edge multidisciplinary and transmedial viewpoint. The essays assembled stem from disciplines that variety from literary thought to artwork heritage and comprise contributions on drama, lyric poetry, the visible arts, images, structure, instrumental tune and laptop video games, in addition to reflections at the cognitive foundations of aesthetic phantasm from an evolutionary standpoint. The contributions to person media and elements of aesthetic phantasm are prefaced via a close theoretical creation. due to its transmedial and multidisciplinary scope, the quantity may be appropriate to scholars and students from a large choice of fields: cultural background at huge, intermediality and media reviews, in addition to, extra fairly, literary reports, song, movie, and paintings heritage.
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Additional info for Immersion and Distance: Aesthetic Illusion in Literature and Other Media
Further factors contributing to our ability and willingness to enter illusionist ‘games of make-believe’ are our proneness to engage in role plays and other games as well as our 29 For a pertinent criticism of “Literary Darwinism” as highly speculative and illuminating literature only in limited areas see, however, Kramnick 2011. Aesthetic Illusion 29 ability, and indeed (occasional) desire, to mentally dissociate ourselves from the here and now and imagine ourselves to be elsewhere, to exist in another time or to be someone else (Nell even claims “that consciousness change is eagerly sought after” by humans and likens illusionist “ludic reading” in this respect to the effects of “alcohol” or “mystical experiences” [1988: 225]).
Verisimilitude – and with it aesthetic illusion – is therefore to a large extent not only variable from a systematic or psychological (individual) point of view but also from a larger historical and cultural perspective. 27 This thesis is based on the well-known neuropsychological fact that there is a close relationship between imagination and perception, which both activate the same brain areas (cf. Nolen-Hoeksema et al. 2009: 344–347). 26 Werner Wolf Another relevant and equally variable contextual factor is the set of frames (including generic conventions) that rule the production and reception of the arts and media in a given period.
It is obvious that enhanced accessibility facilitates illusionist immersion, and that therefore illusionist works tend to lower the threshold of access as much as possible. In realism, this recipient-friendly tendency towards effortlessness (which is typical of illusionism in general38 and sometimes criticized as trivializing) is manifest in the construction and presentation of fictional worlds that seem to be a mimetic extension of the recipients’ real world in terms of spatial, temporal (contemporary) and social settings but also, e.