Abstract
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'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'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's thinking of art works as bodies without organs, continuously entering new alliances and psychic distance.