Do You Feel Me Now?

The reception of Bridget Riley's paintings in the 60s serve as an example for thinking about how a notion like kinesthetic empathy might be used to explain a viewers relationship to painting. It suggests a path away from an insistently integrative ego that is incapable of an empathetic attitude towards the other constructed within an unbridgeable difference.

Untitled (After Riley)

Clearly the desire for the same is operative in various ways in many domains: at the level of nationality, within the social, in terms of class, or by political identifications, subcultures, etc. Just as frequently, the desire for the same is challenged by its opposite: the desire for the different.