The empathy machine

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From Aeon:

What’s the first thing you think of when you hear the name Sherlock Holmes? It might be a deerstalker, a pipe or a violin, or shady crimes in the foggy streets of London. Chances are, it’s not his big, warm heart and his generous nature. In fact, you might think of him as a cold fish – the type of man who tells his best friend, who is busy falling in love, that it ‘is an emotional thing, and whatever is emotional is opposed to that true cold reason which I place above all things’. Perhaps you might be influenced by recent adaptations that have gone so far as to call Holmes a ‘sociopath’.

Not the empathetic sort, surely? Or is he?

Let’s dwell for a moment on ‘Silver Blaze’ (1892), Arthur Conan Doyle’s story of the gallant racehorse who disappeared, and his trainer who was found dead, just days before a big race. The hapless police are stumped, and Sherlock Holmes is called in to save the day. And save the day he does – by putting himself in the position of both the dead trainer and the missing horse. Holmes speculates that the horse is ‘a very gregarious creature’. Surmising that, in the absence of its trainer, it would have been drawn to the nearest town, he finds horse tracks, and tells Watson which mental faculty led him there. ‘See the value of imagination… We imagined what might have happened, acted upon that supposition, and find ourselves justified.’

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Usually, when we think of empathy, it evokes feelings of warmth and comfort, of being intrinsically an emotional phenomenon. But perhaps our very idea of empathy is flawed. The worth of empathy might lie as much in the ‘value of imagination’ that Holmes employs as it does in the mere feeling of vicarious emotion. Perhaps that cold rationalist Sherlock Holmes can help us reconsider our preconceptions about what empathy is and what it does.

Though the scientific literature on empathy is complex, a recent review in Nature Neuroscience by a team of researchers from Harvard and Columbia including Jamil Zaki and Kevin Ochsner has distilled the phenomenon into three central stages. The first stage is ‘experience sharing’, or feeling someone else’s emotions as if they were your own – scared when they are scared, happy when they are happy, and so on. The second stage is ‘mentalising’, or consciously considering those states and their sources, and trying to work through understanding them. The final stage is ‘prosocial concern’, or being motivated to act – wanting, for example, to reach out to someone in pain. However, you don’t need all three to experience empathy. Instead, you can view these as three points on an empathetic continuum: first, you feel; then, you feel and you understand; and finally, you feel, understand, and are compelled to act on your understanding. It seems that the defining thing here is the feeling that accompanies all those stages.

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‘Sympathy’ is an idea with a deep history ­– in ancient Greek, sympatheia means, literally, ‘with suffering’ – but ‘empathy’ is a newcomer to popular use. The word was coined by the British cognitive psychologist Edward Titchener as late as 1909: ‘Not only do I see gravity and modesty and pride and courtesy and stateliness,’ he wrote, ‘but I feel or act them in the mind’s muscle. This is, I suppose, a simple case of empathy, if we may coin that term as a rendering of Einfühlung.’ To Titchener, empathy was a kind of ‘feeling into’ someone else’s emotional state.

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The basis of empathy is being able to see things from someone else’s point of view. Empathy lets us ‘walk a mile in another man’s shoes’, look at the world through the eyes of another, or any number of other now-clichéd phrases. But while that perspective-taking seems intimately tied to the emotion of the thing – you walk in someone’s shoes to feel their pain, look through their eyes to understand their feelings – it need not be. As recent research suggests, there are times when becoming too emotionally involved actually stifles our empathetic capacity.

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What would it look like if we were to imagine a personality that was deeply empathetic – and yet wholly unemotional? This person would be, I think, just like that emotionless paragon we invoked earlier: Sherlock Holmes, the world’s greatest fictional detective. Holmes is cold and logical. Holmes is detached. As he explains when Watson remarks on the attractiveness and saintliness of a certain young lady, ‘It is of the first importance not to allow your judgment to be biased by personal qualities.’ He explains the importance of leaving his own feelings out of his calculations: ‘A client is to me a mere unit, a factor in a problem. The emotional qualities are antagonistic to clear reasoning. I assure you that the most winning woman I ever knew was hanged for poisoning three children for their insurance-money, and the most repellent man of my acquaintance is a philanthropist who has spent nearly a quarter of a million upon the London poor.’

Holmes, it seems, is a mere problem-solving machine, hardly human at all. But he is also a man of inordinate creativity of thought. He refuses to stop at facts as they appear to be. He plays out many possibilities, maps out various routes, lays out myriad alternative realities in order to light upon the correct one. His is the opposite of hard, linear, A-to-B reasoning.

Link to the rest at Aeon

4 thoughts on “The empathy machine”

  1. I’m not following this article.

    Holmes is a fictional character.
    The author was probably not always consistent in his quest to give Holmes superhuman sleuthing abilities.

    It wouldn’t have any baring (or provide any enlightenment) on how empathy works.

  2. Empathy that does not involve emotion? Sure, let’s jettison all the meaning from a useful word.

    Holmes has an analytical understanding of other people’s feelings without empathy. Nothing wrong with that.

    It is fine and useful to understand someone’s panicky feelings without panicking, and there are many other times when empathy is not useful. There are other times when it is. Most people in real life use both emotional and intellectual understanding in order to get the whole picture.

  3. “The first stage is ‘experience sharing’, or feeling someone else’s emotions as if they were your own”

    This is a stage MOST easily entered through well-written fiction which includes not only what happens to a character but what the character is thinking and feeling.

    Literature which has changed the world operates at that level. We can’t make everyone have the same experience, but many people can share it if they read about it.

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