Empathy depends on a muscle of attention: to tune in to others' feelings requires we pick up the facial, vocal, and other signals of their emotion. The anterior cingulate, a part of the attention net work, tunes us to someone else's distress by tapping our own amyg dala, which resonates with that distress. In this sense, emotional empathy is "embodied"-we actually feel in our physiology what's going on in the body of the other person.
When volunteers had their brains imaged while they watched another person get a painful shock, their own pain circuitry lit up in what amounts to a neural simulation of the other person's suffering.
Tania Singer has found that we empathize with others' pain via our anterior insula-the same area that we use to sense how our own -pain feels. So we first sense another's emotions within our selves, as our brain applies to the other person's feelings the identi cal system used to read our own feeling states.Empathy builds on our capacity for sensing visceral feelings within our own body.
So does synchrony, that nonverbal meshing of how we move and what we do that signals an interaction in rapport. You see it in jazz musicians, who never rehearse exactly what they do, but just seerri to know when to take center stage, when to fade into the background. When jazz artists were compared with classical musicians in brain function, they showed more neural indicators of self-awareness.15 As one jazz artist put it, "In jazz you have to tune in to how your body is feeling so you know when to riff."
The brain's very design seems to integrate self-awareness with empathy by packing the way we pick up information about our selves and about others within the same far-flung neural networks. One clever part: as our mirror neurons and other social circuitry re-create in our brain and body what's going on with the other erson, our insula summates all that. Empathy entails an act of self-awareness: we read other people by tuning in to ourselves.
Empathy depends on a muscle of attention: to tune in to others' feelings requires we pick up the facial, vocal, and other signals of their emotion. The anterior cingulate, a part of the attention net work, tunes us to someone else's distress by tapping our own amyg dala, which resonates with that distress. In this sense, emotional empathy is "embodied"-we actually feel in our physiology what's going on in the body of the other person.
When volunteers had their brains imaged while they watched another person get a painful shock, their own pain circuitry lit up in what amounts to a neural simulation of the other person's suffering.
Tania Singer has found that we empathize with others' pain via our anterior insula-the same area that we use to sense how our own -pain feels. So we first sense another's emotions within our selves, as our brain applies to the other person's feelings the identi cal system used to read our own feeling states.Empathy builds on our capacity for sensing visceral feelings within our own body.
So does synchrony, that nonverbal meshing of how we move and what we do that signals an interaction in rapport. You see it in jazz musicians, who never rehearse exactly what they do, but just seerri to know when to take center stage, when to fade into the background. When jazz artists were compared with classical musicians in brain function, they showed more neural indicators of self-awareness.15 As one jazz artist put it, "In jazz you have to tune in to how your body is feeling so you know when to riff."
The brain's very design seems to integrate self-awareness with empathy by packing the way we pick up information about our selves and about others within the same far-flung neural networks. One clever part: as our mirror neurons and other social circuitry re-create in our brain and body what's going on with the other erson, our insula summates all that. Empathy entails an act of self-awareness: we read other people by tuning in to ourselves.
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