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.
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