Empathizing in Art

In this article I will provide a complete discussion of the imaginary emotions of the sympathetic nerve in art. We discussed two types of empathy, fiction and witnesses. Through our own empathy, we express sympathy for real emotional experiences. Empathy occurs, but it is not a reaction to what has happened or to an emotional experience that I have never seen. Looking for sympathy includes appearance at first glance and witnessing emotions The emotions of the subject are real emotions and you can respond sympatrically.

The borderline between empathy (imitation) and abstraction is based on classical Greek and Roman (and Renaissance) western thought patterns, Egyptian hieroglyphs, Gothic style, Oriental mystery such as Christianity and Islamic decorations Is separated from the principle. I think Wallinger 's view will contribute to the psychological tendency of Jung' s prototype against Freud 's sexual desire, or alienated Schopenhauer' s philosophy about Wittgenstein 's logical axioms. Wallinger's idea also applied to Proust and T. Eliot literature. I may find similarities in music between classical music and jazz, but all music is abstract.

Art In general, music has been the power of this empathetic expansion, especially for a long time. When we touch the music, regardless of the color of the skin or religious / sexual orientation, the others begin to disappear, after which commonness is understood. In short, more art is equivalent to reducing war

We are easily misled by art. The so-called empathy belief, the faith we gained from experiencing art, should be strengthened based on our experience in the wider world, independent of our other beliefs not. But, here the problem of Reason came back. In other words, if the sympathy belief we got from art experience really matches our real world experience, they can be used as empathic knowledge transmission (ie beliefs are other justified When it is related to belief). Faith becomes realistic and reasonable). The problem is that emotions and beliefs we pass are not based on specific experiences and are often temporary. Can we confirm our art experience itself, or must there be another external authority to justify the experience, or at least knowledge gained from experience?

As critic Justin Chan recently wrote in the Los Angeles Times, "Who is this movie?" Is not enough, especially if the great function of art is to help us imagine and others Sympathize with experience. "If we assume that a special compatibility with someone's art is pre-determined by race, sex, age specific details, we deny the possibility of sympathetic imagination," Chang writes. "It's not that these details are not a factor, and some people tend to make mistakes on absolute factors."