New empathic approaches to art, positive change?

“You can contemplate a painting, but our world is no longer static. This art form reflects the complexity of the world we live in.”

– David Familian

In a world marked by rapid change as now, the possible knowledge should be the focus on new approaches to art, new tools which alone or mixed with others can communicate content innovatively and efficiently. Art has always been the bond between ages; it tried to merge past and advancement of techniques with evolution. On second thought, the impact is different this time, the interest in innovation and technology energised people to experiment in a multi-dimensional way.

In the 21st century, we use technology to communicate like never before in human history. So, how with so many opportunities to connect, do we still not understand each other? Psychologist answered

“There is also too much information for us to take in. Our brains can’t handle the barrage of emotionally draining stories told to us, and this leads to a negation or suppression of emotion that destroys empathy. The natural response is to shut down our compassion because we are emotionally exhausted.” (Manney,2015)

 

In a modern world, where technology has changed the way we experience the space, a land where sentient responsiveness is less every year, How should art aim to generate empathy?

The advantage of combining art and empathy is evident. They help to understand each other, better-triggering proactivity, opening countless possibilities of a personal and emotive expression.

The art world is becoming more and more comprehensive, increasingly incorporating people actively in the artwork. Hybrid elements of nature and technology are the vital mirror of today’s society and human communication with the world. The possibility of intersecting different fields like medicine, biology and engineering with the arts, allows for advancements in each area along with significant progress for media spaces art.

“Installation art now combines a flexible approach to display, while insisting on interaction and discussion with the audience as an integral part of the work itself. […] Obrist makes the distinction between objects and “life-works”. The latter term refers to artworks involving installations, events and actions in a close relationship with the viewer.”

 

Claudia Livia