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Affect Regulation, Mirror Neurons, and the Third Hand: Formulating Mindful Empathic Art Interventions

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Affect Regulation, Mirror Neurons, and the Third Hand: Formulating Mindful Empathic Art Interventions Art Therapy: Journal of the American Art Therapy Association, 27(4) pp. 160-167 © AATA, Inc. 2010 articles Affect Regulation, Mirror Neurons, and the Third Hand: Formulating Mindful Empathic Art Interventions Michael Franklin, Boulder, CO Abstract (Gallese et al., 2004, p. 401). However, long before the dis- covery of the mirror neuron system, researchers in the late Visual empathy through empathic art interventions are 19th and early 20th centuries were studying the relation- discussed in this article with respect to attachment theory; ship between empathy and art (Mallgrave & Ikonomou, recent research on the mirror neuron system; art, empathy, and 1994; Titchener, 1909). mindfulness; and an artistic strategy for crafting third-hand interventions (Kramer, 1986). A case vignette demonstrates Historical Antecedents of Empathy the art therapist’s applied use of visual art responses that help and Art to organize complex information and reflect back the emotion- al center of a client’s communications. With careful attune- Jahoda (2005) outlined a historical review of art, sym- ment, art therapists can develop unique, aesthetic forms of pathy, and empathy in his analysis of the research conduct- empathic resonance that will help clients feel deeply seen and ed by Robert Vischer, Theodore Lipps, Edward Titchener, develop empathy for themselves and compassion for others. and Vernon Lee. Lipps anticipated the Gestalt theory of iso- morphism (Arnheim, 1966) by recognizing the similarity Introduction between how a listener perceived structural patterns in music and how a listener experienced the music’s emotion- Empathic art interventions can be understood through al effects. He noticed a similar phenomenon when viewing the lenses of attachment theory, recent neuroscience re search objects. Lipps’s observations addressed “sympathetic empa- on the mirror neuron system, and mindfulness-based medi- thy,” which Arnheim (1966) discussed as a form of “reso- tation. Art therapists have discussed the value of the thera- nance based on isomorphism” present in the arts (p. 66). pist’s post-session response art (Fish, 2008; Moon, 1999) as This intriguing observation correlates with ideas found in well as drawing alongside clients within a session (Haeseler, attachment theory such as intersubjectivity and emerging 1989). The focus of this paper is a specific form of empath- research on mirror neurons. In attachment theory, intersub- ically attuned art made within a session through “third- jectivity is defined as the sharing of subjective states with hand” strategies (Kramer, 1986), which help clients regulate another person through emotional attunement. Similarly, their emotions and develop interpersonal relatedness. an artist attunes to his or her subject by empathically feel- Of particular importance to theories of attachment, ing into the phenomenological object. art, and empathy is the discovery of the mirror neuron sys- Lipps was a prominent theorist who influenced early tem (Gallese, 2003; Gallese, Keysers, & Rizzolatti, 2004). psych oanalytic thinking as well as phenomenology. He con- Recent research has suggested that an evolved neural mir- sidered how artworks, through their contemplation, might ror mechanism in humans and primates allows an embod- enter and fuse with various states in the observer (Jahoda, ied “as if” understanding between the observer and the 2005), or “transport” the observer into an image. This qual- observed, which accesses the mind and feeling states of oth- ity of transfer, or emotional projection, is related to aesthet- ers (Gallese, 2008). An emerging understanding of neuro- ic imitation and aesthetic einfuhlung (Lee, 1912), which logical mirroring structures points toward “the first unify- means to instinctually feel and intentionally project oneself ing perspective of the neural basis of social cognition” within or into something outside one’s self. This intersubjective projection into the state of another Editor’s Note: Michael Franklin, PhD, ATR-BC, is a Pro - person or work of art is enabled by the flexible dimensional- fessor in the Transpersonal Counseling Psychology Depart ment and Director of the Graduate Art Therapy Program of Naropa ity of the imagery itself. Lipps’s colleague Lee (1912) no ticed, University in Boulder, CO. Material from this article was pre- for example, that a person could subjectively relate to visual sented at the 2006 Annual Conference of the American Art forms in art despite the fact that they exist as inert forms. The Therapy Association. Correspondence may be addressed to the intersubjective perceptions of the viewer conjugate meaning author at [email protected] as the visual forms and content are contemplated. 160 FRANKLIN 161 According to Jahoda (2005), Lipps recognized that Dissanayake (1992) observed that the precursors of there are ways of knowing beyond what the senses commu- fine arts are found in the timeless human practice of creat- nicate. Emotions cannot be accessed through the senses in ing objects. She believed that aesthetic behavior is hard- the way smell or taste reach awareness; rather, we come to wired into our species as a need to “make special” (p. 173). know another’s emotion by allowing it to become born Objects are not created for their own sake but rather for within ourselves. Thus, at its core, empathy is instinctually communal bonding; hence, social connections are rein- an intersubjective, imaginal practice of entering the world forced through object use during rituals conceived to sup- of another. This awareness can be correlated with what is port collective needs. Communal ritual becomes a galva- now known about the mirror neuron system; that is, care- nizing adhesive that helps culture form and evolve. fully observed actions—such as those seen in another per- For these rituals to be enacted, physical engagement son creating art—will instinctually fuse with the observer with materials and processes are needed in order to mani- at subtle neural levels (Gallese, 2008; Gallese et al., 2004). fest the objects involved. How humans have used our For Lipps, this progression of events happened through a hands over time is important in tracing social and neuro- process of aesthetic imitation. In addition, he noticed that logical elements of evolution, given the fact that a signifi- he could feel within himself what was active in the cant amount of space in the brain is dedicated to the hands observed other. and to visual perception (Wilson, 1998). In his book The Vischer’s work associated einfuhlung with the perceptual Hand: How its Use Shapes the Brain, Language, and Human appreciation of art-based stimuli through “emotional projec- Culture, Wilson (1998) described showing video clips of tion” (Jahoda, 2005, p. 153). Vischer observed that at high- musicians with injured hands to an audience of musicians er levels of intentional perceiving, the sensory ego becomes with uninjured hands. Some members of the audience had “saturated with feeling” when projected into the focal object strong visceral responses. It is possible that the viewers felt (p. 154). His psychological research explored how the ego a strong sense of intersubjective resonance for the injured can penetrate into an object as a way to bridge the notion of musicians portrayed in the video, and perhaps even experi- “otherness” (Mallgrave & Ikonomou, 1994, p. 26). enced an induced panic of the mirror neuron system. That At the end of his summary of these historical discus- is, the observers may have understood and even experi- sions of sympathy and empathy or einfuhlung, Jahoda enced the condition of the musicians’ injured hands at an (2005) addressed the complexity of comprehending unob- embodied neural level (Gallese et al., 2004) along with the servable subjective processes and wrote that they could intersubjective cognition of “action understanding” (ob - only be fully understood by “neuro-psychological studies” serving others perform). Within this scenario, observer and (p. 162). With their pioneering work on mirror neurons, observed share an understanding of each other beyond researchers in neuroscience have been able to identify a overt conjecture. Rather, an “as if” experience occurs on a “we-centric” view of empathy (Cozolino, 2002; Gallese, neural substrate level that derives a we-centric understand- 2003, 2008; Gallese et al., 2004). According to Gallese ing from the embodied simulation (Gallese, 2008). (2008), we-centric experiencing seems to take place through This example of we-centric resonance suggests several a shared neural substrate rather than through analogy alone. possibilities. If it is true that the viewers’ strong visceral Furthermore, this empathic experience is based on “embod- responses to the video were a reflection of a depressing neu- ied simulation” resulting in “as if” relational understanding ral identification with the injuries observed in the video, (p. 771). Concerning the we-centrism of mirror neurons, then the converse is also conceivable and supports the hy - Cozolino (2002) posited that the mirror neuron system pothesis of this paper: Visual conditions could be de signed might help organize and synchronize various group behav- to cultivate forms of “as if” resonance to serve em pathic iors such as dancing. This theory supports what appears to communication within the therapeutic relationship. be a connection between the empathic sensory ego described by Lipps and Vischer and the synchronizing Attachment Theory, Affect Regulation, capacity of the mirror
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