"If the results of that "complex mental process" are with us when we are
looking, why does it have to be considered as an addition to "what goes on in
us"?

I don't see word 'addition' in her statement you presented.
Empathy is a part of a whole "complex mental process".
I agree, her statement could be delivered in more distilled form, but
I always at least try to pay attention to the fruitful part ignoring trifles.
Boris Shoshensky
To: [email protected]
Subject: Re: Worringer and his predecessors
Date: Thu, 16 Jul 2009 13:40:15 GMT

Let's take another look at  Vernon Lee's statement (which Boris thinks is so
well put):

"Empathy" is not just "attributing what goes on in us when we look at a
shape to the shape itself" -- but it also includes the "complex mental
process
by
which we (all unsuspectingly)  invest that inert , bodiless shape, with the
stored up, averaged, and essential modes of our activity".


If the results of that "complex mental process" are with us when we are
looking, why does it have to be considered as an addition to "what goes on in
us"?

And does "stored up, averaged, and essential" really apply in every instance?

Perhaps they work for Vernon Lee in the example that she was using (whatever
comes to her mind with the verb "rise"), but for me, the most memorable
association seldom could be considered average or essential.  It is often
something exceptional. (but maybe that's just me)

So, I don't think this little passage is an example of careful thinking.
(Does
anyone  here really want to read her entire book about "The beautiful"?)

But if we do go ahead and accept this as a definition of empathy, couldn't it
be applied to "what goes on in us" when we are looking at triangles, squares,
and circles --- as well as when we are looking at a statue by Rodin ?

And this is the point that I've been trying to make about Worringer's
polarity
between empathy and abstraction:  it has nothing to do with "empathy" as it
was defined by his predecessors. (and as many of us would be inclined to
define it today)

He has redefined empathy as what lovers of naturalistic art feel when
contemplating the objects of their affection.


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