How does Edward Bullough's idea of psychical distance explain aesthetic experience?

Edward Bullough’s concept of "psychical distance," introduced in his 1912 essay, characterizes the aesthetic experience as a state of detachment from ordinary, practical concerns. By "standing back" from the immediate urgencies of existence, an individual can engage with an object or work of art in a way that is divorced from personal interest or utility.1

This idea suggests that to appreciate something aesthetically, one must create a psychological buffer between oneself and the object, allowing for a contemplative stance rather than a practical one. While this theory provides a useful framework for understanding how we shift our focus toward the intrinsic qualities of an object, it has faced philosophical criticism. Critics argue that if aesthetic experience requires a total lack of practical involvement, it becomes difficult to explain how we can aesthetically appreciate functional objects—such as buildings or clothing—or how we maintain deep emotional connections to things we find beautiful, such as a beloved person.1

Ultimately, while Bullough’s distancing remains a significant principle in aesthetics, many philosophers suggest it is not the complete explanation for the complex synthesis of sensory and intellectual engagement that defines aesthetic experience.1