Esrock Ellen J
Department of Communication and Media, Rensselaer Polytechnic Institute, Sage Building, 110 8th Street, Troy, NY, 12180, USA.
Cogn Process. 2018 May;19(2):187-199. doi: 10.1007/s10339-017-0835-4. Epub 2017 Sep 25.
Robert Vischer's concept of Einfühlung, feeling-into, translated as empathy, serves as the departure point for a proposal about viewing art using the body for a non-imitative form of empathy termed a transomatization and for other embodied operations. A transomatization occurs when viewers reinterpret a component or process of their own bodies to serve as a non-imitative stand-in, or correlate, for something outside of the self, specifically, some quality of an art work or its production. This creates an overlap of the self and other that might be experienced subjectively as a feeling of projection, an operation characteristic of empathy. Transomatizations and other embodied experiences are grounded in empathic, intersubjective modes of engaging others that begin in early life. As applications of the proposed concepts, six different embodiments of the viewer's breathing are explored in regard to Friedrich E. Church's 1848 oil painting Morning, Looking East over the Hudson Valley from the Catskill Mountains. Support for elements of the proposed concepts and applications is drawn from research in the biological and social sciences and from first person, embodied accounts of viewing.
罗伯特·维舍尔的“Einfühlung”概念，即“感同身受”，被翻译为“共情”，它是一个提议的出发点，该提议主张利用身体以一种非模仿性的共情形式（称为“身体转化”）以及其他具身操作来欣赏艺术。当观众重新诠释自身身体的某个组成部分或过程，以作为自我之外事物（具体而言，是艺术作品或其创作的某种特质）的非模仿性替身或关联物时，就会发生身体转化。这会产生自我与他者的重叠，主观上可能会将其体验为一种投射感，这是共情的一种操作特征。身体转化和其他具身体验基于从早年就开始的与他人互动的共情、主体间模式。作为所提概念的应用，针对弗里德里希·E·丘奇1848年的油画《清晨，从卡茨基尔山俯瞰哈得逊河谷，望向东方》，探讨了观众呼吸的六种不同具身方式。对所提概念及应用要素的支持来自生物科学和社会科学研究以及第一人称的具身观看描述。
