Pictures of pain: their contribution to the neuroscience of empathy

• Published in: Brain (London, England : 1878) England : 1878), 2015-03, Vol.138 (Pt 3), p.812-820
• Main Author: Schott, G D
• Format: Article
• Language: English
• Subjects: Dorsal Column; Empathy - physiology; History, 16th Century; History, 17th Century; History, 19th Century; History, 21st Century; Humans; Neurosciences; Pain - history; Pain - psychology; Pain Perception; Photic Stimulation; Portraits as Topic - history; Portraits as Topic - psychology
• ISSN: 0006-8950; 1460-2156
• DOI: 10.1093/brain/awu395

The study of empathy, a translation of the term 'Einfühlung', originated in 19th century Germany in the sphere of aesthetics, and was followed by studies in psychology and then neuroscience. During the past decade the links between empathy and art have started to be investigated, but now from the neuroscientific perspective, and two different approaches have emerged. Recently, the primacy of the mirror neuron system and its association with automaticity and imitative, simulated movement has been envisaged. But earlier, a number of eminent art historians had pointed to the importance of cognitive responses to art; these responses might plausibly be subserved by alternative neural networks. Focusing here mainly on pictures depicting pain and evoking empathy, both approaches are considered by summarizing the evidence that either supports the involvement of the mirror neuron system, or alternatively suggests other neural networks are likely to be implicated. The use of such pictures in experimental studies exploring the underlying neural processes, however, raises a number of concerns, and suggests caution is exercised in drawing conclusions concerning the networks that might be engaged. These various networks are discussed next, taking into account the affective and sensory components of the pain experience, before concluding that both mirror neuron and alternative neural networks are likelyto be enlisted in the empathetic response to images of pain. A somewhat similar duality of spontaneous and cognitive processes may perhaps also be paralleled in the creation of such images. While noting that some have repudiated the neuroscientific approach to the subject, pictures are nevertheless shown here to represent an unusual but invaluable tool in the study of pain and empathy.