The paper discusses kinaesthetic empathy based on the German philosopher Edith Stein’s theory of empathy. Applying Stein’s study of empathy, this paper examines empathy as a particular form of the act of knowing. Instead of a mere emotion, empathy entails a re-living or a placing ourselves ‘inside’ another’s experience. We may grasp another’s living, moving body as another centre orientation of the world through our own kinaesthetic sense and body topography. Kinaesthetic (...) class='Hi'>empathy seems to have a partial capacity to make sense of others’ experiential movements and reciprocally our own bodily movements. It makes possible to understand the non-verbal kinetic experiences through which we may acquire knowledge of the other’s bodily movements on the basis of our own body topography. There is recognition that we never reach the other’s primordial movement experience. (shrink)

Bien que le rôle dans l’expérience esthétique des kinesthèses remontant au cycle action-perception du processus de création artistique soit reconnu par la théorie neurocognitive de l’esthétique, on n’a pas encore dissocié les contributions respectives des sensations corporelles et de la simulation interne, deux dimensions distinguées par T. Lipps. Pour désambiguer la part de l’empathie kinesthésique dans l’expérience esthétique de la musique, on a comparé les enregistrements des micro-gestes d’exécution de musiciens avec leur compte-rendu de l’expressivité musicale éprouvée lors de l’observation (...) et de l’exécution de morceaux de musique. (shrink)

ArgumentThe new English term “empathy” was translated from the GermanEinfühlungin the first decade of the twentieth century by the psychologists James Ward at the University of Cambridge and Edward B. Titchener at Cornell. At Titchener's American laboratory, “empathy” was not a matter of understanding other minds, but rather a projection of imagined bodily movements and accompanying feelings into an object, a meaning that drew from its rich nineteenth-century aesthetic heritage. This rendering of “empathy” borrowed kinaesthetic meanings (...) from German sources, but extended beyond a contemplation of the beautiful to include a variety of experimental stimuli and everyday objects in the laboratory. According to Titchener's structural psychology, all higher thought could be reduced to more elemental aspects of mind, and experimental introspection showed empathy to be constituted of kinaesthetic images. The existence of kinaesthetic images, Titchener argued, formed an incisive critique of the view that thought could take place without images, held by one of Titchener's major psychological rivals, the school of thought-psychologists in Würzburg, Germany. The new term “empathy” in early American academic psychology therefore delineated a kinaesthetic imaginative projection that took place on the basis of ontological difference between minds and things. (shrink)

This article tries to shed light on the multiple, but underrated pleasures of the heist film – a genre that has attracted numerous major directors from Jean-Pierre Melville and Stanley Kubrick to Michael Mann and Steven Soderbergh, but has received limited scholarly attention. I approach the genre from a, broadly, philosophical perspective and draw on thinkers such as Peter Sloterdijk, Georg Simmel, Paul Souriau and Bruno Latour to argue that their emphasis on (1) skillful action and kinaesthetic empathy, (...) (2) smooth transgression of boundaries and (3) well-functioning social collaboration and we-connection, the genre's best exemplars satisfy, in fictional and quasi-utopian form, a number of real-life desires. (shrink)

Current research in human–robot interaction often focuses on rendering communication between humans and robots more ‘natural’ by designing machines that appear and behave humanlike. Communication, in this human-centric approach, is often understood as a process of successfully transmitting information in the form of predefined messages and gestures. This article introduces an alternative arts-led, movement-centric approach, which embraces the differences of machinelike robotic artefacts and, instead, investigates how meaning is dynamically enacted in the encounter of humans and machines. Our design approach (...) revolves around a novel embodied mapping methodology, which serves to bridge between human–machine asymmetries and socioculturally situate abstract robotic artefacts. Building on concepts from performativity, material agency, enactive sense-making and kinaesthetic empathy, our Machine Movement Lab project opens up a performative-relational model of human–machine communication, where meaning is generated through relational dynamics in the interaction itself. (shrink)

This essay employs insights from embodied approaches to cognition to develop a tighter grasp on the phenomenon of camera mobility. Close readings of two early masterpieces of German cinema investigate how the viewer relates to camera movement on the basis of kinaesthetic empathy and is thereby transported, emotionally gripped or expelled from the storyworld. I argue that the construction of the fictional world is based on this specific viewing attitude, which invites us either to merely observe or, in (...) contrast, to engage with the events on screen. As a consequence, the investigation of camera movement on the basis of embodied cognition helps us both to gain a deeper understanding of how we are drawn into the space defined by camera movement and to open up the possibility of a ‘natural’ history of camera conventions as they were established at this early stage of cinema. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new insights (...) into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

Dance as a complex human activity is a rich test case for exploring perception in action. In this article, we explore a 4E approach to perception/action in dance, focussing on the intersubjective and ecological aspects of kinaesthetic attunement and their capacity to expand empathic and perceptive experience. We examine the question: what are the ways in which the performance ecology co-created in different dance practices influences empathic and perceptive experience? We adopt an enactive ethnographic and phenomenological approach to explore (...) two distinct dance forms: Contact Improvisation [CI], a duet-system based practice aimed at fostering interkinaesthetic awareness and challenging habits of movement; and Body Weather [BW], an anti-hierarchical movement practice sensitive to the surrounding environment. We argue that through intersubjective kinaesthetic attunement, CI scaffolds the development of perceptive awareness of subtle shifts within ourselves and others, allowing the cultivation of a capacity for flexibly traversing between conscious initiation of action, attuned responding, and the intersection between them. Similarly, we investigate the expansion of perceptive experience through kinaesthetic attunement in BW. We suggest that the capacity for empathy is enhanced in BW through drawing attention to, and perception of, the fullness of a place in a way that we do not typically experience. By focussing on the variations in which embodied perceptual skills are enacted in specific dance forms and the expansion of perceptive experience through kinaesthetic attunement, we stress the potential of the performing arts to cultivate and create new ways of empathic engagement with the world in which we find ourselves. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama in Aesthetic Education:An Invitation to Imagine the World as if It Could Be OtherwiseFlorence Samson (bio)Maxine Greene, philosopher-in-residence for the Lincoln Center Institute (LCI), suggests that through aesthetic education "new connections are made in experience: new patterns are formed, new vistas are opened. Persons see differently, resonate differently." As Rilke wrote in one of his poems, and as quoted by Greene, "they are enabled to pay heed when (...) a work of art tells them, 'You must change your life.'"1 Greene interprets Rilke's words to mean that "a work [of art], when fully perceived and carefully attended to, makes a demand upon beholders—a demand that they change, look with new eyes, hear with new ears, become something they have not been before."2 Greene believes that "the perceiving, the noticing [about which Rilke spoke] are enhanced," for in the process of "[o]pening ourselves as perceivers to the work, entering into it kinaesthetically, we free ourselves to grasp it in its vital fullness and complexity."3This life change, to which Rilke refers, occurs as we take into our own being the experiences of others and realize that not everyone sees the world as we do. As we look critically at ourselves and our complicity in situations that position people as "other," we are moved to imagine that the world could be otherwise.Curriculum, Change, and Aesthetic EducationAesthetic education, an inquiry-driven engagement with a work of art, can be a catalyst to bringing about change. The aesthetic education experience consists of a number of components. LCI agrees upon a repertoire of "works of art" deemed likely to fulfill the requirements of engagement and inquiry. These may include, but are not limited to, music, drama, and opera performances, and mask, photo, and art exhibits. For each work of art, the LCI [End Page 70] researchers and other staff prepare a resource binder, entitled Windows on the Work. The teacher educator has several meetings with the teaching artist assigned to that work to develop the questions that will power the inquiry process, determine the structure and activities of the pre- and sometimes post-performance classes, and guide the students in their engagement with the work of art.I have included an aesthetic education experience program each term in my graduate and undergraduate elementary and early childhood education courses. My course outlines describe this component and the related student assignments. For the fall 2004 course, I chose Ping Chong's Secret History: Journeys Abroad, Journeys Within.4 This drama documentary, written and directed by Ping Chong and Leyla Mordirzadeh in collaboration with Sara Zatz, was directly related to one of my course goals—teaching for equity and social justice. This involves providing teachers with opportunities to "engage in productive dialogues about both inequities and possibilities for social reconstruction in the communities within which they and their students are developing."5Ping Chong & Company was founded thirty years ago "to create innovative works of theatre and art that explore the intersection of race, history, culture, and technology in the modern world."6Ping Chong, Insider/Outsider, and His Approach to TheatreCanadian-born and New York-reared Chong—theatre director, choreographer, and video and installation artist—is "fascinated and disturbed by the position of the outsider, the person made to feel 'other' in a society" and "probe[s] the drama of those pushed from one culture to another."7 He has done extensive research on both immigrants and refugees and recognizes that there is a psychological difference in the trauma experienced by members of both groups in the transition from one culture to the other.Chong's unique "talk, reveal, and seek to understand" approach to theatre "moves us toward unification, toward diminishing the barriers between peoples, and thus toward embracing all that is good in civilization."8 His work is grounded in his experience of sharing a common ethnicity and language with his community in Chinatown and occupying the position of "other" as the only Chinese student in his high school. Because of his experience of being "other," Chong has "a real kind of empathy and connection" with his projects.9 He considers... (shrink)

The paper builds an argument about empathy, kinesthesia, choreography, and power as they were constituted in early eighteenth century France. It examines the conditions under which one body could claim to know what another body was feeling, using two sets of documents – philosophical examinations of perception and kinesthesia by Condillac and notations of dances published by Feuillet. Reading these documents intertextually, I postulate a kind of corporeal episteme that grounds how the body is constructed. And I endeavor to (...) situate this body within the colonial and expansionist politics of its historical moment. (shrink)

The heterogeneous nature of the empathy construct demands that neuroscience investigations into this topic employ methods directed at uncovering multiple processes. This article touches upon some of the methods most appropriate for empathy research, and closes by arguing for a better distinction between perception and imagination during the initial stage of an empathic response.

Emotion Review, Volume 14, Issue 3, Page 167-181, July 2022. A growing cadre of influential scholars has converged on a circumscribed definition of empathy as restricted only to feeling the same emotion that one perceives another is feeling. We argue that this restrictive isomorphic matching definition is deeply problematic because it deviates dramatically from traditional conceptualizations of empathy and unmoors the construct from generations of scientific research and clinical practice; insistence on an isomorphic form undercuts much of the (...) functional value of empathy from multiple perspectives of analysis; and combining the opposing concepts of isomorphic matching and self-other awareness implicitly requires motivational content, causing the RIM definition to implicitly require the kind of non-matching emotional content that it explicitly seeks to exclude. (shrink)

Within the phenomenological tradition, one frequently finds the bold claim that interpersonal understanding is rooted in a sui generis form of intentional experience, most commonly labeled empathy (Einfühlung). The following paper explores this claim, emphasizing its distinctive character, and examining the phenomenological considerations offered in its defense by two of its main proponents, Edmund Husserl and Edith Stein. After offering in section 2 some preliminary indications of how empathy should be understood, I then turn to some characterizations of (...) its distinctive structure, considering, in section 3, the Husserlian claim that certain forms of empathy are perceptual in nature, and in section 4, Stein’s insistence that empathetic experience frequently involves explicating the other’s own intentional experiences. Section 5 concludes by assessing the extent to which their analyses lead support to a conception of empathy as an intuitive experience of other minds. (shrink)

I propose a way of understanding empathy on which it does not necessarily involve any-thing like thinking oneself into another’s shoes, or any imagining at all. Briefly, the empa-thizer uses an aspect of her own mental state as a sample, expressed by means of a phenomenal concept, to understand the other person. This account does a better job of explaining the connection between empathetic experiences and the objects of empathy than most traditional ones do. And it helps to (...) clarify the relations among different varieties of empathy and empathy-like experiences, including empathy with fictional characters. -/- . (shrink)

Empathy is a construct that is notoriously difficult to define. Murphy and colleagues argue for leaning into the construct's inherent fuzziness and reverting to what they term a classical definition informed by the observations of philosophers and clinicians: as a dynamic, “unfolding process of imaginatively experiencing the subjective consciousness of another person, sensing, understanding, and structuring the world as if one were that person.” Although consistent with some historical conceptualizations, this definition risks incorporating so many processes it would make (...) empathy difficult to operationalize or distinguish from any generally socially sensitive interaction. Defining empathy instead as the attempted representation, or simulation, of another's subjective internal experiences would increase its clarity and empirical utility. (shrink)

Empathy is a construct that is notoriously difficult to define. Murphy and colleagues argue for leaning into the construct's inherent fuzziness and reverting to what they term a classical definition informed by the observations of philosophers and clinicians: as a dynamic, “unfolding process of imaginatively experiencing the subjective consciousness of another person, sensing, understanding, and structuring the world as if one were that person.” Although consistent with some historical conceptualizations, this definition risks incorporating so many processes it would make (...) empathy difficult to operationalize or distinguish from any generally socially sensitive interaction. Defining empathy instead as the attempted representation, or simulation, of another's subjective internal experiences would increase its clarity and empirical utility. (shrink)

Empathy is a topic of continuous debate in the nursing literature. Many argue that empathy is indispensable to effective nursing practice. Yet others argue that nurses should rather rely on sympathy, compassion, or consolation. However, a more troubling disagreement underlies these debates: There’s no consensus on how to define empathy. This lack of consensus is the primary obstacle to a constructive debate over the role and import of empathy in nursing practice. The solution to this problem (...) seems obvious: Nurses need to reach a consensus on the meaning and definition of empathy. But this is easier said than done. Concept analyses, for instance, reveal a profound ambiguity and heterogeneity of the concept of empathy across the nursing literature. Since the term “empathy” is used to refer to a range of perceptual, cognitive, emotional, and behavioral phenomena, the presence of a conceptual ambiguity and heterogeneity is hardly surprising. Our proposal is simple. To move forward, we need to return to the basics. We should develop the concept from the ground up. That is, we should begin by identifying and describing the most fundamental form of empathic experience. Once we identify the most fundamental form of empathy, we will be able to distinguish among the more derivative experiences and behaviors that are addressed by the same name and, ideally, determine the place of these phenomena in the field of nursing. The aim of this article is, consequently, to lay the groundwork for a more coherent concept of empathy and thereby for a more fruitful debate over the role of empathy in nursing. In Part 1, we outline the history of the concept of empathy within nursing, explain why nurses are sometimes warry of adapting concepts from other disciplines, and argue that nurses should distinguish between adapting concepts from applied disciplines and from more theoretical disciplines. In Part 2, we show that the distinction between emotional and cognitive empathy—borrowed from theoretical psychology—has been a major factor in nurses’ negative attitudes toward emotional empathy. We argue, however, that both concepts fail to capture the most fundamental form of empathy. In Part 3, we draw on and present some of the seminal studies of empathy that can be found in the work of phenomenological philosophers including Max Scheler, Edmund Husserl, and Edith Stein. In Part 4, we outline how their understanding of empathy may facilitate current debates about empathy’s role in nursing. (shrink)

Empathy remains poorly understood, under-theorized, and subject to conflicting and opportunistic uses. Its systematic role in human experience has not been analyzed and interpreted from top to bottom. In this book, the author attempts to provide such an analysis in the philosophical traditions of hermeneutics, phenomenology, analytic philosophy of language, and psychoanalysis. applying his interpretation of empathy to the philosophical issues of intentionality, the emotions, and the checkered transformations of empathy itself. In doing so the author aims (...) to rescue empathy from the margins of intelligibility and reveal its central role in our understanding of the emotions, the integrity of our relations with others, and human community (“intersubjectivity”). -/- The work draws on both the Anglo-American (“analytic”) tradition of ordinary language philosophy and the continental ones of phenomenology and hermeneutics. This work follows the movement of empathy from the periphery of ethics, aesthetics, and theory of mind to a key place in establishing and maintaining the integrity and emotional equilibrium of dynamic interrelations with other individuals. Beginning with the philosophical infrastructure of the hermeneutics of empathy, this work thoroughly explains the complex architecture of empathy, tracing it downward through the levels of authentic human interrelations, empathy with unexpressed emotions, the empathic penetrability of cognitively impenetrable affect, the first-ever intentional analysis of both the empathizer and the “empathasand” in interrelation, and the hermeneutic infrastructure. The consequences of empathy are exposed in the context of the emotions, cognitive impenetrability, empathy and altruism, and the intentionality of empathy as accessed through language and story telling. Drawing on the multi-method approach of hermeneutics, phenomenology, and story telling, this work demonstrates that empathy forms the foundation for community in ways not clearly appreciated in the on-going debate. In a bootstrap operation that is guided by Heidegger’s call for a “special hermeneutic of empathy,” this work achieves a delicate balancing act of unpacking the rich intellectual traditions from which empathy - the phenomenon itself, not the concept - emerged historically. The result is an exposure of the deep structure of empathy as a fundamentally human capability for creating possibilities of community and human relations. (shrink)

This paper discusses the possibility of the phenomenon of empathy between humans and robots, starting from what happens during their eye contact. First, it is shown, through the most relevant results of HRI studies on this matter, what are the most important effects of the robot gaze on human emotions and behaviour. Secondly, these effects are compared to what happens during the phenomenon of empathy between humans, taking inspiration from the studies of Edmund Husserl and Edith Stein. Finally, (...) similarities and differences between human-human and human-robot empathy are conceptualized through Merleau-Ponty’s idea of flesh, which is the extended bodily element of the world. If there is a common concept of body, including both machine-bodies and living bodies, then a transcorporeal analogy takes place, thus explaining why the phenomenon of empathy occurs both in human-human and human-robot interactions. (shrink)

Empathy has for a long time, at least since the eighteenth century, been seen as centrally important in relation to our capacity to gain a grasp of the content of other people's minds, and predict and explain what they will think, feel, and do; and in relation to our capacity to respond to others ethically. In addition, empathy is seen as having a central role in aesthetics, in the understanding of our engagement with works of art and with (...) fictional characters. A fuller understanding of empathy is now offered by the interaction of research in science and the humanities. This volume draws together nineteen original chapters by leading researchers across several disciplines, together with an extensive Introduction by the editors. The individual chapters reveal how important it is, in a wide range of fields of enquiry, to bring to bear an understanding of the role of empathy in its various guises. It offers the ideal starting-point for the exploration of this intriguing aspect of human life. (shrink)

There is disagreement in the literature about the exact nature of the phenomenon of empathy. There are emotional, cognitive, and conditioning views, applying in varying degrees across species. An adequate description of the ultimate and proximate mechanism can integrate these views. Proximately, the perception of an object's state activates the subject's corresponding representations, which in turn activate somatic and autonomic responses. This mechanism supports basic behaviors that are crucial for the reproductive success of animals living in groups. The Perception-Action (...) Model, together with an understanding of how representations change with experience, can explain the major empirical effects in the literature. It can also predict a variety of empathy disorders. The interaction between the PAM and prefrontal functioning can also explain different levels of empathy across species and age groups. This view can advance our evolutionary understanding of empathy beyond inclusive fitness and reciprocal altruism and can explain different levels of empathy across individuals, species, stages of development, and situations. Key Words: altruism; cognitive empathy ; comparative; emotion; emotional contagion; empathy ; evolution; human; perception-action; perspective taking. (shrink)

In this chapter, Edith Stein offers an analysis of empathy with others, which she sees as a fundamental trait of the human being. In her view, empathy is a condition of possibility for sociality and sympathy, rather than the other way around. She grounds empathy in human embodiment, more precisely in the way in which the human being is embodied mind and minded body. Stein’s work on empathy represents a pathbreaking contribution to phenomenology and shows how (...) she makes active use of and goes beyond the works of Edmund Husserl, Alexander Pfänder, and others. (shrink)

Abstract:Multidisciplinary healthcare workers describe interactions with "difficult" patients that have shaped their lives and their clinical practice. The narrators recall navigating the push-pull of empathy and frustration to forge therapeutic patient relationships in inhospitable, under-resourced environments. Their stories offer glimpses into the traumatized people hiding behind "difficult" patient facades. This commentary explores how the narrators engaged in empathy and obligation to build trusting relationships with patients. To protect themselves and their patients, healthcare workers must engage beyond individual clinical (...) duties to help remodel American healthcare. They should be encouraged to advocate for implementation of trauma informed care and to engage in public discourse about transforming healthcare for the good of healthcare workers, patients, and families. (shrink)

_An award-winning scholar and teacher explores how Shakespeare’s greatest characters were built on a _learned_ sense of empathy__ "Thoughtful, astute, invitingly readable—and uncommonly timely. Especially now that so many younger readers are casting suspicious glances at Shakespeare, _Of Human Kindness_ shows with mind-changing clarity why his work has never been more relevant to our common problems."—Terry Teachout, drama critic, ___Wall Street Journal___ “A warm and committed book, firmly rooted in long experience of the classroom.”—Emma Smith,_ Times Literary Supplement__ While discussing (...) Shakespeare’s plays in her university classroom, Paula Marantz Cohen discovered that they unlocked a surprising sense of compassion in both herself and her students. In this short and illuminating book, she shows how Shakespeare’s genius lay in his ability to arouse empathy, even when his characters exist in alien contexts and behave in reprehensible ways. Cohen takes her readers through a selection of Shakespeare’s most famous plays, including _Hamlet__,__Othello__,__King Lear__,_ and _The Merchant of Venice__,_ to demonstrate the ways in which Shakespeare thought deeply and clearly about how we treat “the other.” Cohen argues that only through _close reading_ of Shakespeare can we fully appreciate his empathetic responses to race, class, gender, and age. Wise, eloquent, and thoughtful, this book is a forceful argument for literature’s power to champion what is best in us. (shrink)

This paper argues that enthusiasm for empathy has grown to the point at which empathy has taken on the status of an “ideal” in modern medicine. We need to pause and scrutinize this ideal before moving forward with empathy training programs for medical students. Taking empathy as an ideal obscures the distinction between the multiple aims that calls for empathy seek to achieve. While these aims may work together, they also come apart and yield different (...) recommendations about the sort of behavior physicians should cultivate in a given situation. I begin by demonstrating how enthusiasm for empathy has increased dramatically. I then specify precisely what I mean in calling empathy an “ideal.” I then describe some dangers associated with taking empathy to be an ideal unreflectively. I discuss the merits of works that provide conceptualizations of empathy that are specifically tailored for the medical domain and conclude that although these works move discussions about empathy in medical care forward, they could do more to foreground the goals and aims underlying calls for increased empathy. I provide specific suggestions as to how exactly we might foreground these goals and aims to further avoid conceptual confusion about empathy in medical education. (shrink)

Empathy is a form of emotionally charged imaginative perspective‐taking. It is also the unique source of a particular form of understanding, which I will call humane understanding. Humane understanding consists in the direct apprehension of the intelligibility of others’ emotions. This apprehension is an epistemic good whose ethical significance is multifarious. In this paper, I focus on elaborating the sense in which humane understanding of others is non‐instrumentally valuable to its recipients. People have a complex but profound need to (...) be humanely understood. Because we respond to others’ very real need when we pursue this sort of understanding of their emotions, empathy is best understood as itself a way of caring, rather than just a means to promote other caring behavior. (shrink)