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Everything Else Has Failed! Don't You Think It's Time For Love? by Sharon Hayes | Tate

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whitney biennial visual arts letterpress prints multidisciplinary artist speech acts phaidon monument lab political guggenheim fellowship museum

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Connecting to contemporary art with technology? True, one can easily Google “contemporary art,” but why not connect with it in real time? Experience it, see it, touch it, and talk about it.

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GROUP SHOWS Nature's Nation: American Art and Environment Peabody Essex Museum Feb 2 - May 5, 2019 Salem, MA Hyperaccumulators Pelham Art Center January 18 - March 23, 2019 Pelham, NY AXxoN N: A Col

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https://www.bookdepository.com/Empathic-Vision/9780804751711

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Sense and empathy

Empathy is the ability to sense what another person, creature or place is going through, feeling, needing, or their/its perspective regardless of having gone through that themselves. Imagination and compassion are needed for empathy to happen.

What needs to happen to elicit empathy? Imaginative ideas and showing compassion may help along with data.

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Association for Psychological Science - APS

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Whether it's watching a friend get a paper cut or staring at a photo of a child refugee, observing someone else's suffering can evoke a deep sense of distress and sadness - almost as if it's happening to us. In the past, this might have been explained simply as empathy, the ability to experience the feelings of others, but over the last 20 years, neuroscientists have been able to pinpoint some of the specific regions of the brain responsible for this sense of interconnectedness. Five scientists discussed the neuroscience behind how we process the feelings of others during an Integrative Science Symposium chaired by APS Fellow Piotr Winkielman (University of California, San Diego) at the 2017 International Convention of Psychological Science in Vienna.
Mirroring the Mind
"When we witness what happens to others, we don't just activate the visual cortex like we thought some decades ago," said Christian Keysers of the Netherlands Institute for Neuroscience in Amsterdam. "We also activate our own actions as if we'd be acting in similar ways. We activate our own emotions and sensations as if we felt the same."

Through his work at the Social Brain Lab, Keysers, together with Valeria Gazzola, has found that observing another person's action, pain, or affect can trigger parts of the same neural networks responsible for executing those actions and experiencing those feelings firsthand. Keysers' presentation, however, focused on exploring how this system contributes to our psychology. Does this mirror system help us understand what goes on in others? Does it help us read their minds? Can we "catch" the emotions of others?

To explore whether the motor mirror system helps us understand the inner states behind the actions of others, Keysers in one study asked participants to watch a video of a person grasping toy balls hidden within a large bin. In one condition, participants determined whether or not the person in the video hesitated before selecting a ball (a theory-of-mind task). Using transcranial magnetic stimulation (TMS) in combination with fMRI, Keysers showed that interfering with the mirror system impaired people's ability to detect the level of confidence of others, providing evidence that this system indeed contributes to perceiving the inner states of others. Performing fMRI and TMS on other brain regions such as the temporoparietal junction (TPJ) further suggests that this motor simulation in the mirror system is then sent onward to more cognitive regions in the TPJ.

"Very rapidly, we got this unifying notion that when you witness the states of others you replicate these states in yourself as if you were in their shoes, which is why we call these activities 'vicarious states,'" Keysers said.

Studies have suggested that this ability to mentalize the experiences of others so vividly can lead us to take prosocial steps to reduce their pain, but Keysers also wanted to investigate the depth of this emotional contagion - how and to what extent we experience other people's suffering. To do this, Keysers' lab studied two very different populations: human psychopaths and rats.

While witnessing the pain of others is correlated with activity in the insula, which is thought to contribute to self-awareness by integrating sensory information, and the anterior cingulate cortex (ACC), which is associated with decision making and impulse control, the researchers found that psychopaths who passively observed an aggressor twisting someone's hand exhibited significantly less brain activity than their neurotypical peers. When the psychopathic individuals were asked to attempt to empathize with the person in the video, however, their brain activity increased to baseline levels.

This suggests that the current model of empathy as a one-dimensional scale with empathic individuals at one end and psychopaths at the other may be overly simplistic, Keysers said.

"Psychopaths are probably equally high on ability, it's just that they don't recruit this spontaneously, so their propensity is modified," he explained.

These findings could lead to more effective interventions for psychopathic individuals, as well as to future research into where people with autism spectrum disorders may fall on these axes.
Shared Pain
Studies of emotional contagion in animal models have allowed researchers to further examine the role of deep brain activity, which can be difficult to neurostimulate in humans. Keysers' work with rats has found that these animals are more likely to freeze after watching another rat receive an electric shock if they themselves had been shocked in the past.

Inhibiting a region analogous to the ACC in the rats' brains reduced their response to another rat's distress, but not their fear of being shocked themselves, suggesting that the area deals specifically with socially triggered fear, Keysers said.

Claus Lamm, University of Vienna, investigates the processes that regulate firsthand pain and those that cause empathy for pain through numerous studies on the influence of painkillers.

In these experiments, participants who took a placebo "painkiller" reported lower pain ratings after receiving a shock than did those in the control group. When those same participants watched a confederate get shocked, they reported a similar drop in their perception of the actor's pain.

"If you reduce people's self-experienced pain, if you induce analgesia, that not only helps people to deal with their own pain, but it also reduces empathy for the pain of another person," Lamm said.

On the neural level, Lamm said, fMRI scans showed that people in the placebo group displayed lower levels of brain activity in the anterior insula and mid cingulate cortex in both cases. These results were further confirmed in another study that compared participants who received only the painkiller placebo with those who received both the placebo and naltrexone, an opioid antagonist that prevents the brain from regulating pain.

This resulted in a "complete reversal" of the placebo effect, causing participants to report both their own pain and the pain of others at near baseline rates, supporting Lamm's previous claims about the pain system's role in empathy.

"This suggests that empathy for pain is grounded in representing others' pain within one's own pain systems," Lamm said.
The Self/Other Divide
Empathy may not give us a full sense of someone else's experiences, however. When observers in one of Keysers' studies were given the opportunity to pay to reduce the severity of the electric shocks a confederate was about to receive, on average participants paid only enough to reduce her pain by 50%.

Lamm studied this self/other distinction through a series of experiments that measured people's emotional egocentricity bias. To do so, participants were presented with visuo-tactile stimulation that was either congruent or incongruent with that of a partner under fMRI. In an incongruent pair, for example, one participant might be presented with an image of a rose and be touched with something that felt like a rose, while the other was shown a slug and touched with a slimy substance.

Participants' own emotions were found to color their perception of other people's affect at a relatively low rate - however, when researchers inhibited the right supramarginal gyrus (rSMG), a region of the brain previous associated mainly with language processing, this egocentricity bias increased, suggesting that the rSMG may be responsible for maintaining a self/other divide, Lamm said.

"Empathy not only requires a mechanism for sharing emotions, but also for keeping them separate. Otherwise we are getting 'contaged,' emotionally distressed and so on," he said.

The rate of rSMG activation also changes significantly across a lifetime, Lamm added, with the area's developmental trajectory causing emotional egocentricity to be more common in adolescents and the elderly.
Developing Division
Rebecca Saxe (Massachusetts Institute of Technology) said her work with developmental psychology confirms this trend. In one series of experiments, Saxe monitored the brain networks that 3- to 5-year-old children used to consider a character's mind (the temporoparietal junction, posterior cingulate, and prefrontal cortex) and body (the secondary somatosensory cortex, insula, middle frontal gyrus, and ACC) throughout a short film.

Saxe found that while these brain regions may interact with each other, there were no points of overlap between the mind and body networks' activities.

"When we're getting information from the same source and about the same people, we still nevertheless impose a kind of dualism where we alternate between considering what their bodies feel like and the causes of their minds," Saxe said.

Furthermore, Saxe and her colleagues found that while these networks were more distinct in children who were able to pass an explicit-false-belief task (e.g., if Sally puts her sandwich on a shelf and her friend moves it to the desk, where will she look for it?), the division was present in participants of all ages.

"Most people have treated explicit false belief as if it were the milestone," Saxe said. "Actually, the false-belief task is just one measure of a much more continuous developmental change as children become increasingly sophisticated in their thinking about other people's minds."

Next, Saxe scaled this experiment down to test the theory of mind of infants as young as 6 months, this time measuring their response to children's facial expressions, outdoor scenes, and visual static. This time period may be key to understanding the neuropsychology of empathy because most of the brain's cognitive development happens within the first year of life, she explained.

"A baby's brain is more different from a 3-year-old's brain than a 3-year-old's brain is from a 33-year-old's brain," Saxe said.

Under fMRI, the infants' brains were found to have many of the same regional responses that allow adults to distinguish between faces and scenes. Their brains didn't show any regional preferences for objects and bodies, however.

This level of regional specificity suggests that the Kennard Principle, the theory that infants' brains possess such resilience and plasticity because the cortex hasn't specialized yet, may be only partially true. There does appear to be some functional organization of social process, Saxe said, with gradually increasing specialization as the child ages.
Empathy in Action
On the surface, neuroforecasting sounds like a concept that would be right at home in the world of Philip K. Dick's Minority Report - a science fiction thriller about a society that stops crime before it happens based on the brainwaves of three mutant "precogs" - said APS Fellow Brian D. Knutson (Stanford University), but someday it could play a very real role in the future of economics.

Knutson's research on the brain mechanisms that influence choice homes in on three functional targets: the nucleus accumbens (NAcc) for gain anticipation, the anterior insula for loss anticipation, and the medial prefrontal cortex (mPFC) for value integration.

Using fMRI, Knutson was able to predict participants' purchases in a simulated online shopping environment on the basis of brain activations in these areas. Before participants chose to buy a product, increased activity in the NAcc and mPFC was paired with a decrease in the insula, while the reverse was true of trials in which participants chose not to make a purchase.

"This was very exciting to me as a psychologist to be able to say, 'Wow, we can take activity out of the brain and, not knowing anything else about who it is and what product they're seeing, we can predict choice,'" Knutson said.

His economist colleagues weren't as impressed: They were interested in market activity, not individual choice. Knutson said he accepted this challenge by applying his neuroanaylsis to large-scale online markets such as Kiva and Kickstarter.

Knutson asked 30 participants to rate the appeal and neediness of loan requests on Kiva and found that posts with photos of people displaying a positive affect were most likely to trigger the increased NAcc activity that caused them to make a purchase - or in this case, a loan. More importantly, the averaged choices of those participants forecasted the loan appeal's success on the internet. Two similar studies involving Kickstarter campaigns also suggested a link between NAcc activity and aggregate market activity.

While brain activity doesn't scale perfectly to aggregate choice, Knutson said, some components of decision making, such as affective responses, may be more generalizable than others.

"The paradox may be that the things that make you most consistent as an individual, that best predict your choices, may not be the things that make your choices conform to those of others. We may be able to deconstruct and decouple those components in the brain," Knutson said.
Global Empathy
The neuroanatomy of our brains may allow us to feel empathy for another's experiences, but it can also stop us from making cross-cultural connections, said APS Fellow Ying-yi Hong (Chinese University of Hong Kong).

"Despite all these neurobiological capabilities enabling us to empathize with others, we still see cases in which individuals chose to harm others, for example during intergroup conflicts or wars," Hong said.

This may be due in part to the brain's distinction between in-group and out-group members, she explained. People have been found to show greater activation in the amygdala when viewing fearful faces of their own race, for example, and less activation in the ACC when watching a needle prick the face of someone of a different race.

The cultural mixing that accompanies globalization can heighten these responses, Hong added. In one study, she and her colleagues found that melding cultural symbols (e.g., combining the American and Chinese flags, putting Chairman Mao's head on the Lincoln Memorial, or even presenting images of "fusion" foods) can elicit a pattern of disgust in the anterior insula of White Americans similar to that elicited by physical contaminant objects such as insects.

These responses can also be modulated by cultural practices, Hong said. One study comparing the in-group/out-group bias in Korea, a more collectivist society, and the United States, a more individualistic society, found that more interdependent societies may foster a greater sense of in-group favoritism in the brain.

Further research into this empathy gap should consider not just the causal relationship between neural activation and behavior, she said, but the societal context in which they take place.

"What I want to propose," Hong said, "is that maybe there is another area that we can also think about, which is the culture, the shared lay theories, values, and norms."

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'I Feel Your Pain': The Neuroscience of Empathy

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Observing someone else in anguish can evoke a deep sense of distress and sadness - almost as if it's happening to us. APS Fellow Ying-yi Hong and other scientists identify some of the regions of the brain responsible for this sense of interconnectedness.

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Addended this talk online 15/10/20 - interesting talk, she's very soft spoken - embedding into the community you are filming seems to be a key action for success in her case.

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Patricia Cronin: Social Justice and Aesthetic Responsibilities

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Not sure the brief was met on this one, but it was an interesting idea... 

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Not sure the brief was met on this one, but it was an interesting idea... 

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YouTube description: London's Tate Modern has opened a new installation that is supposed to evoke "forced empathy." The installation has a "crying room" that produces vapors that make those inside cry. We visited the installation to see if it could make us feel a sense of empathy.

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We Went To An Art Exhibit That Makes You Cry To ‘Feel Empathy’

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Some good ideas/examples, talk itself was a little poor

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Art, Empathy and Community Engagement. | Cassandra Richardson, MSW; MA | TEDxAUCMed

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Leads to the Ghana ThinkTank link below

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Good Leadership - empathy and perspective

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Good Leadership - empathy and perspective

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The power of empathy: Helen Riess at TEDxMiddlebury

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Very interesting TedTalk - technology is a step back in human evolution socially speaking, regarding empathy

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Could the arts help us reclaim our empathy? | Tony Lankester | TEDxJohannesburg

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Watch again and look up artists mentioned...

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Watch again and look up artists mentioned...

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Art and empathy: Andrea Packard at TEDxArcadiaUniversity

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The Minneapolis Institute of Art recently received a $750,000 Andrew W. Mellon Foundation grant to establish the world's first Center for Empathy and the Visual Arts. A team of experts will come together to focus on how art museums can teach empathy and compassion. This news has left some asking whether these qualities can be taught.

Educators have been using the arts and humanities to teach empathy for some time. In 2003, Lauren Christine Phillips tracked the ways in which she set out as an art teacher to nurture empathy. Phillips writes about how her school, Norcross Elementary, has set out to teach and instill empathy in their 900 students. "From an early age," she explains, "they learn how to treat others with respect, work together to solve problems, and be a part of our community. They learn this from adults at our school, as well as from each other."

Through the artistic process, imagination, modeled behavior, and human connection, art can have transformative powers.

In her classroom, Phillips stresses caring and imagination, while acknowledging that the idea of teaching empathy is not something as concrete as other lesson plans, like teaching perspective or watercolor. "I have not discovered the 10-step process for teaching kids to care," she notes. But she believes that through the artistic process, imagination, modeled behavior, and human connection, art can have transformative powers.

Phillips describes two groups lessons she uses to create "a community of caring." One lesson focuses on the class's creating Ashanti adinkra cloth, traditionally from Ghana. This cloth is hand-stamped and originally made to wear at funerals. Students could imagine and empathize with the artists during their own creation process. Although only in second grade, the children benefitted from discussing the artistic emotions and motivations behind the project.

Another lesson was inspired by Oaxacan painted animal sculptures. For this, Phillips again provided the students with context, explaining that many of the Oaxacan artists who make these do so after farming all day. She asks them questions like, "Why would they spend the little free time they have carving small creatures?" Students begin to understand that the act of creating brings people joy. They also start to make connections between the artists they are studying and their own families, seeing how art helps to improve their lives in various ways.

The Minneapolis Institute of Art's new Center for Empathy and the Visual Arts has many possibilities for how to creatively teach and instill empathy in museum visitors. Although Phillips' study focused on children, her ideas can be applied to museum visitors of all ages.As Hannah Arendt put it: "Education is the point at which we decide whether we love the world enough to assume responsibility for it and by the same token save it from that ruin which, except for renewal, except for the coming of the new and young, would be inevitable."

Resources

JSTOR is a digital library for scholars, researchers, and students. JSTOR Daily readers can access the original research behind our articles for free on JSTOR.

Society for History Education

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Can Art Help People Develop Empathy? - JSTOR Daily

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A new Center for Empathy and the Visual Arts has made people wonder whether empathy can be taught? And, if so, how can the arts help with this process?

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"It is my duty to voice the sufferings of people, the sufferings that never end and are as big as mountains." ― Käthe Kollwitz

The great German artist, printmaker and sculptor Käthe Kolwitz (1867-1945) knew profound personal suffering. After her younger son Peter died in battle in Flanders in October, 1914 she fell into a deep depression that re-shaped both her art and political views. The double sculpture that she finally completed in 1931 for the cemetery in which he son was buried, shows the artist and her husband apparently kneeling in grief. However, when asked about the theme of the sculpture Kollwitz explained that it was about much more than grief: it also represents all parents of her generation, asking forgiveness for having led their sons into war.

The Grieving Parents, like so many of Kollwitz' finest works, is grounded in empathy: the ability to understand and share the feelings of another. She recognized that she was expressing something greater than her own feelings and that her art could only function if it served an entire society. Grief and loss are universal feelings that bind us, and sharing them with others leads to consolation and social transformation. It is not surprising that in 1936 the Nazi party barred Kollwitz from displaying her work which they branded as "degenerate." Deep feelings for the sufferings and losses of others-which lead to collective introspection-can lead to resistance against authoritarian politicians and those who advocate war and other forms of sacrifice and suffering.

It is interesting to note that the idea of empathy is a late-nineteenth/early twentieth century development, that derives from the imaginative act of projecting oneself into a work of art. In her book You Must Change Your Life: The Story of Rainer Maria Rilke and Auguste Rodin, author Rachel Corbett writes:

The invention of empathy corresponds to many of the climactic shifts in the art, philosophy and psychology of fin-de-siècle Europe, and it changed the way artists thought about their work and the way observers related to it for generations to come.

The development of empathy as a social expectation and custom parallels the development of Expressionism: of inwardness as a gateway to emotional connection. That inwardness-so essential in the modern conception of a self-aware individual-is the hinge that connects to social awareness and the empathetic understanding of others.

Empathy is, without doubt, a political force that plays a considerable role in attitudes towards social issues. In a recent article for Psychology Today- Beware America's Shocking Loss of Empathy -attorney and social advocate David Noise argues that empathy and it's "cousin" compassion are crucial elements in politics and policy, arguing that they "lead to an intelligent assessment of what is happening internally and around the world, a minimal level of humane values, and rational attempts to apply those values."

In the context of America's recent Presidential election, where outrage, uncivil discourse and personal attacks demonstrated a shocking lack of empathy, it seems critical for artists to ask themselves about the role of empathy in their own work. Whether their work is political, personal or somewhere in-between, the element of empathy can allow an artist to "give voice to the sufferings of others," as Käthe Kolwitz did so nobly in her works.

Below is a selection of responses posted on my personal Facebook page after I asked the question:
What is the role of empathy in your art?
Note: some responses have been edited for brevity.

Steven Holmes: Making art assumes empathy. Making art is an act of sharing. It is by definition, an invitation to others to leave their isolation and meet others on the same road as you. An artist without empathy is a sociopath.

Mark David Lloyd: Empathy can be painful. Much of my artwork on a conceptual level deals with suffering in one form of another, empathy is experienced in the making process of the artworks and sometimes by the viewer. When we witness suffering and distress in others, our natural tendency to empathize can bring us vicarious pain.

Colin Darke: It plays the central role. I only paint or draw in hopes of having a shared experience ― my picture echoing the viewer's feelings (past or present, happiness/sadness/wonderment) in a new and powerful way.

Julia Morgan Scott: I have become somewhat suspicious of efforts to consciously insert empathy into painting. It seems IMHO to politicize something natural to the process of simply painting what one truly loves.

Isaias Sandoval-Streufert: For me empathy is essential, without empathy it will be only apathy, my work is about passion, I can't paint apathy even if I try.

Karen Kaapcke: I also have the thought that it is possible that people with high levels of empathy take to the arts as vehicles for that way of being, because it is possibly not an easy way of being (I am thinking of myself when quite young, being almost unbearably disturbed by seeing certain things, or being almost unbearably moved by the beauty of something. Both are equally empathic. A life in the arts might make being that way a little more bearable).

Nancy Good: Empathy is key as it speaks the language of connection, i.e. connection to the life experiences of the viewer. We are all connected in pain, joy, fear, wonder, hunger, yearning ... all we experience. Empathy in art banishes isolation and invites healing.

Franck De Las Mercedes: Most of my work stems from an emotionally charged, at times dark, at times painful place. To hear others regard it as beautiful or meaningful to their lives is the biggest compliment. The gift is in sharing and understanding the feelings and experiences of another.

F. Scott Hess: Empathy is the link that a painter of figures relies on to make others feel the work. It happens before conscious thought, before critical analysis kicks in. You grab your audience by their empathetic guts before they know what's happening. Gesture, facial expression, movement, composition, and paint application all work together to achieve this end.

Judith Peck: In order to create, I have to feel very deeply, without that connection I believe my work would be a hollow shell.

Steph Rocknak: From an article I wrote a few years ago: "Psychology, which in many respects grew out of Hume's work, is helping us to further clarify the fundamental role that empathy plays in our moral sensibilities. Hume's work, written over two hundred and fifty years ago, is still profoundly relevant. But great artists have always seemed to know what Hume knew; they hook us up to the empathy machine when we become too self-involved, too isolated. For the most part, artists, not philosophers, keep us human; they can put us-no, sometimes force us-into the other person's shoes. We see what it is like to be a victim a war, we see what it is like to be terribly conflicted, we see what it was like to be trapped inside the World Trade Center on 9/11. Artists can also expose our horror for what it is; we get a look inside the heads of those who know no empathy: the psychopaths, the sociopaths, the narcissists. Sometimes, we even get to see what it is like to live in an entire society that has gone the way of a psychopath. Once again, Bosch and Michelangelo come to mind, or, more recently, Cormac McCarthy's novel, The Road. "

Dab Zabooty: Without empathy art becomes a technical exercise.

Tristan Xavier Köster: In German there is this word "Sympathie" (not to be confused with sympathy) which basically means that you can understand and empathize with somebody(always used positively). I think that this sensation of Sympathie, finds itself in nearly all forms of art, allowing complete strangers to feel and see/hear with the artist. ‪Empathy (veiled by a sense of guilt) fuels just about every single melody I write, but I always try and make sure that my music is "sympathisch" to the listener.

Joseph Bravo: Genuine aesthetic communication rests on empathy between the artist and the viewer. If art is to maintain some intrinsic cultural relevance then the audience indeed needs to be broadened. With that broadening of the audience must also come a broadening of the messages and the identity of the messengers as well, even at the risk of a disquieting cacophony. But ideally, each artist would be endeavoring to expand that empathic communication to edify as wide a range of humanity as possible. If artists are to speak with their audience rather that merely at it, then they should seek to find at least a point of common ground on which to plant that seed of empathy.

Conor Walton: Empathy assumes reciprocal emotional relations between artist, subject and viewer that are egalitarian insofar as each can identify with the other, and this might naturally be expected to form the basis of an egalitarian art. It might suit a modern style of portraiture or figure painting which takes human equality for granted, but most of the great artworks of the past were produced in a different social context, and embody power relations and notions of social hierarchy that obstruct empathic relations. Are they to be admired less as a consequence? Is a contemporary work that expresses empathy superior to an ancient masterpiece that doesn't? Or might it be the reverse: that cultivating empathy leads towards an urbane, popular, sentimental art, but places the highest summits of achievement off limits because of its antipathy to the sublime?

Vonn Sumner: Empathy is the most important, most essential, most foundational element of painting and drawing. Empathy was the guiding principle of Wayne Thiebaud's teaching, and he would often state it plainly. He would also say that empathy is the basis of civilization and quote Gloria Steinham: "Empathy is the most radical human emotion."

Joao de Brito: A Portuguese Proverb:"O artista é a voz do povo" or " artists are the voice of the people" empathy is what is channeled by many artists to express what needs to seen or heard from the public when the world is in confusion.

Ingrid Reeve: My art is not about progress; it's about truth. Empathy is essential for discerning truth.

Note: The original Facebook post and all replies can be viewed at this link.

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I Asked Artists About Empathy: Here Is What They Said...

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"It is my duty to voice the sufferings of people, the sufferings that never end and are as big as mountains." ― Käthe Kollwitz The great German artist, printmaker and sculptor Käthe Kolwitz (1867-1945) knew profound personal suffering.