Autism and Empathy: A Case Study In Art.This essay will explore how autistic individuals experience empathy and how that experience has been documented by various professionals.

Introduction

The first section of this essay will begin by explaining what autism is, its history and the modern perceptions on autism and empathy. This will include quotes from The National Autistic Society, Baron-Cohen and Wolff. By introducing autism in such a way, it is my intention to affirm that autism is a lifelong developmental disability, not a disease and is something that people live with. I will continue the discussion by focusing specifically on empathy. This section will explore the discussion of whether or not people with autism lack empathy. The professional opinion has changed from when autism was first identified to the modern day. To investigate further, I will use the portfolio of work by Stephen Wiltshire, an autistic artist. I will discuss his work indepth, relating to the content of everything else discussed. Finally, I will consider how his work and how autism in art has influenced my own practice.

What is Autism?

Autism is a lifelong developmental disability that affects how people perceive the world and interact with others. Autistic people see, hear and feel the world differently to other people. If you are autistic, you are autistic for life; autism is not an illness or disease and cannot be ‘cured’. Often, people feel being autistic is a fundamental aspect of their identity (The National Autistic Society, n.d.).

Autism is a broad spectrum – all autistic people share certain difficulties, but being autistic will affect people in different ways. One person with autism may experience hypersensitivity in one or more of their senses, whilst another may experience hyposensitivity, thus experiencing different symptoms during a sensory overload or meltdown (The National Autistic Society, n.d.).

The word autism first took its modern sense in 1938 when Hans Asperger of the Vienna University Hospital adopted Bleuler’s terminology autistic psychopaths in a lecture in German about child psychology (Asperger, 1938). Asperger was investigating an ASD now known as Asperger syndrome, though for various reasons it was not widely recognized as a separate diagnosis until 1981 (Wolff. 2004.).

Autism Spectrum Conditions (ASC) involve impairments in social functioning, language or communication, and the presence of stereotyped repetitive behaviours and/or highly restricted interests. Historically, the “self” has been integral in what it means to have autism. The term “autism” derived from the Greek word “autos”, which literally means “self” was first coined by Bleuler to characterize many of the social withdrawal symptoms exhibited by schizophrenics. (Wheelwright and Baron-Cohen, et al, 2007.).

Autism and Empathy

There have been many theories over the years, debating whether or not people with autism lack empathy.

For example, according to Decety and Jackson (2004, p. 90. Cited from Smith, 2006.): ‘Children with autism display a broad range of social communication deficits, and most scholars agree that a lack of empathy prominently figures amongst them’ (Smith, P59.2, 2009.). Furthermore, studies assessing the ability of individuals with ASC to identify emotions and mental states from context have also shown deficits relative to the general population or to other clinical control groups (Baron-Cohen, Leslie & Frith, 1986, et al).

Another example: adolescents and adults with ASC have difficulties answering questions on the Strange Stories Test (Jolliffe and Baron-Cohen, 1999). The Strange Stories Test assesses the ability to provide context-appropriate mental state explanations for nonliteral statements made by story characters e.g. ironic or sarcastic statements (Golan and Baron-Cohen, 2006). The Strange Stories Test is a social experiment, using theory of the mind. The procedure of this test was simple: each participant was tested by themselves in a room free from distractions. The experimenter sat next to the participant so that they could read them the stories (Jollife and Baron-Cohen, 1999).

Because the human face is central in both the expression and communication of emotion, the majority of studies have focused on the face and tested recognition of six emotions: happiness, sadness, fear, anger, surprise, and disgust. These ‘basic’ emotions are expressed and recognized universally (Ekman 1993; Ekman & Friesen, 1971.). Some studies reveal emotion recognition deficits among individuals with ASC, compared to typical or clinical control groups, using both static (Celani, Battacchi and Arcidiacono, et al, 1999.) and dynamic stimuli (Yirmiya, Sigman, et al 1992.). Other studies have found children and adults with high-functioning autism (HFA) or Asperger syndrome (AS) have no difficulties in recognizing these basic emotions from pictures (Adolphs, et al, 2001.) or films (Loveland et al, 1997.), and that the deficit only becomes apparent when testing recognition of more ‘complex’ emotions such as embarrassment, insincerity, intimacy, etc. in both adults and children with ASC (Baron-Cohen, Wheelwright, et al, 2001.). These findings suggest recognition of basic emotions is relatively preserved among high-functioning individuals with ASC, and that they show greater difficulties recognizing more complex emotional and mental states (Golan and Baron-Cohen, 2006.).

Further investigation by Baron-Cohen in 1995 states: the integration of cross-modal emotional information from faces, voices, and context allows understanding and prediction of others’ emotions and mental states, and the more information available, the easier should be the recognition of these emotions or mental states. Studies assessing complex emotion and mental state recognition from ecologically rich social situations, containing multimodal sources of information, show a deficit in individuals with ASC, compared to control (Golan and Baron-Cohen, 2006.)

If high-functioning individuals with ASC possess good systemizing skills, it is possible they could use them to compensate for some of their empathizing difficulties. This might be hard to implement, because the socioemotional world is a context-related open system (Lawson, 2003), often unpredictable and difficult to conceptualize with strict rules. However, if provided with a system of emotions, it is plausible that systemizing skills could be harnessed to help individuals with ASC learn to recognize emotions (Golan and Baron-Cohen, 2006).

According to Baron-Cohen’s research, individuals with high-functioning autism or Asperger syndrome do not lack the moral agency of empathy – they are capable of reading our basic emotions, as stated above (happiness, sadness, fear, anger, disgust), but may start to experience difficulties when they have to start empathising with more complex emotions. Example: embarrassment, intimacy, etc.

Being able to empathize with people’s emotions is an important aspect of moral agency. As Jeanette Kennett explains: “Emotional contagion is the way in which other people’s concerns become reasons for us. Without the capacity to simulate, to catch moods, and to find our responses changed in the light of the responses of others, perhaps we lack the very basis for moral concern, and so we shall fail to become moral agents” (Kennett, 2002: 345.).

In moral psychology, empathy is typically understood to be a necessary component of properly developing moral agents and developed moral agency (Blair, 1995; Garcia & Ostrosky-Solis, 2006 et al). This view stands in tension with the belief that many individuals diagnosed with autism—which is typically characterized as a deficiency in social reciprocity including empathy (Hobson, 1995) —are moral agents (Krahn and Fenton, 2009.). Moral agency is the individual’s ability to make moral judgements based on the notion of right and wrong, and to be held accountable for their actions.

Artists with Autism

Stephen Wiltshire was born in London, United Kingdom to West Indian parents on the 24 th April, 1974. As a child, Stephen was mute and did not relate to other people. He was diagnosed as autistic when he was ageed three. He had no language and lived entirely in his own world. During his school years, it was noticed that the only pastime he enjoyed was drawing. Through his enjoyment of drawing, it became apparent that is how Stephen communicated with the world, through the language of drawing; first animals, then London buses, and finally buildings. He was encouraged to speak by temporarily having his art supplies taken away, so that he would have to ask for them. He learned to speak fully at the age of nine. One of Stephen’s teachers took a particular interest in him, who later accompanied his young student on drawing excursions and entered his work in children’s art competitions, many of which garnered Stephen awards. By 1989, Stephen embarked on a drawing tour of Venice, Amsterdam, Leningrad and Moscow, attracting crowds wherever he stopped to draw. His drawings testify to an assured draughtsmanship and an ability to convey complex perspective with consummate ease. But more importantly, they reveal his creative ability to capture the sensibility of a building and that which determines its character and its voice. It is this genius that sets him apart and confers upon him the status of artist. (Cited from Stephen Wiltshire’s website). Despite being autistic, Stephen has an incredible resume and impressive portfolio of work.

London Skyline at Embankment, 07/03/16.

View of St. Paul’s Cathedral from London Bridge, 11/11/13.

After close observation, it has become apparent that Stephen Wiltshire’s work is repetitive, consistently containing building skylines and American cars. There is lack of people present in his portfolio, and when there are people, they are not the main focus. Their facial features are not thoroughly detailed or visible. Notice the immense detail in the buildings, in comparison to that of the people present. Their figures are outlined and their outfits have been delicately touched upon, but there is no relation to them. They simply co-exist within the drawing, with which the focus is on St. Paul’s Cathedral. It is visually communicated through Stephen’s work that his interests primarily focus on buildings, American cars and sometimes other vehicles.

Many people with autism have intense and highly-focused interests, often from a fairly young age. Autistic people often report that the pursuit of such intersts is fundamental to their wellbeing and

happiness, and many channel their interest into studying, paid work, volunteering, or other meaningful occupation (The National Autistic Society, n.d.). The nature of his portfolio could be a result of his autism.

1953 Cadilac Eldorado Convertible, 05/05/16.

American La France FDNY Ladder, 01/06/16.

It is evident throughout Stephen’s portfolio of work that he has a fascination for the colour red. It is the only primary colour that is incorporated into his drawings. Other than the usage of colour red, his line work is black and white. This repetitive behaviour in his artwork is a connection to being autistic, due to the repetitive behaviours displayed by people with autism.

Lawrence Aaron Gilson.

Stephen Wiltshire’s work is very precise, detailed and an accurate reflection of reality, due to his photographic memory. Through his artwork, Stephen processes information from the world. Although Stephen’s portfolio is opposite to my own practise, it has influenced my work.

I am able to empathise with Stephen through his work, although that may not be intentional on his part. I can empathise with the lack of connection he feels with people and wanting to communicate with people through art, rather than by speech or language. Throughout the entirety of this academic year, my sole focus on my portfolio of work has been heavily influenced by autism and empathy. I want my work to convey empathy and understanding, and to intentionally provoke an emotional response. I want people to question my artwork and where it came from.

Sensory Toy, 2017.

Inspired by moodlights and autism, this prototype is designed in mind to be user-friendly for someone on the autistic spectrum. The tactile nature was inspired by a fidget cube and its functions. When someone on the autistic spectrum is stressed or in meltdown, the design of this prototype is aimed to provide aiding a calm, soothing effect to its user.

Untitled, 2017.

Being able to empathise with the pain, fear, sadness, distress and blood shed from this horrific world event enabled me to develop a sculptural series, inspired by the Holocaust from World War 2. This series aims to provoke an emotional response from the audience.

Winds of Change, 2017.

An abstract sculptural piece, that represents the sails of boats being blown in the wind. When one boat containing horrific world events sails away, another boat arrives containing good or bad.

The Camps, 2017.

3D plaster reliefs, connected by metal rods that visually communicates the connection between each concentration camp. These will be displayed on top of a map of Poland, where many unfortunately lost their lives.

Hope, 2017.

A memorial sculpture in the shape of the Star of David. The idea is the hands are reaching out for help, holding out for hope and provide a comforting, helping hand when times are difficult. Also commemorates the lives of everyone lost.

Conclusion

There is significant evidence to support the theory that people with ASC or HFA are capable of empathising with others and have moral agency. People with autism are capable of being able to recognise basic emotions and though they may struggle with more complex emotions, autistic people can understand and share the feelings of another.

Acknowledging this information has altered my perception on Stephen Wiltshire’s work. At first, I was sure empathy was absent in his work. Now I can analyse his portfolio in a new light and appreciate the smaller details, faceless figures and usage of the colour red in his drawings.

As my work strongly relies on empathy, I now have a better understanding of autism and empathy in art. Communicating through art isn’t always straightforward and as someone who wants to communicate emotion and empathy through art, that is something to keep close in mind when moving forwards with future work.

Bibliography

Decety, J. (2004). The Functional Architecture of Human Empathy. Behavioral and Cognitive Neuroscience Reviews, 3(2), pp.71-100.

Fan, Y., Decety, J., Yang, C., Liu, J. and Cheng, Y. (2010). Unbroken mirror neurons in autism spectrum disorders. Journal of Child Psychology and Psychiatry, 51(9), pp.981-988.

Golan, O. and Baron-Cohen, S. (2006). Systemizing empathy: Teaching adults with Asperger syndrome or high-functioning autism to recognize complex emotions using interactive multimedia. Development and Psychopathology.

Krahn, T. and Fenton, A. (2009). Autism, Empathy and Questions of Moral Agency. Journal for the Theory of Social Behaviour, 39(2), pp.145-166.

Lombardo, M., Barnes, J., Wheelwright, S. and Baron-Cohen, S. (2007). Self-Referential Cognition and Empathy in Autism. PLoS ONE, 2(9), p.e883.

National Autistic Society (NAS) accessed information from http://www.autism.org.uk/ on 18/03/17.

Smith, A. (2006). "Cognitive Empathy and Emotional Empathy in Human Behavior and Evolution," The Psychological Record: Vol. 56: Iss. 1, Article 1.

Wolff, S. (2004). European Child & Adolescent Psychiatry, 13: 201.

Wiltshire, S. http://www.stephenwiltshire.co.uk/biography.aspx accessed information on 26/04/17.