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My contribution investigates the contrasting interpretations of Warburg’s opus by Wind and Gombrich, particularly as it relates to the role that Robert Vischer’s notion of Einfühlung (empathy) played in Warburg’s research on the creation and perception of images. My argument is that studying the biological basis of empathy may shed new light on its role in aesthetic response, thus confirming Warburg’s insights and supporting Wind’s interpretation. In this respect, and its application to the study of images by Warburg is at the core of my research, which is also a continuation of the new investigatory path established by David Freedberg and Vittorio Gallese gambling data japan in their respective works on experimental aesthetics.


In parallel, I have been engaged in a major study on the aesthetic responses to static works of art and images, specifically those that include the representation of emotions, (suggested) movements, pornography, sound or noise (e.g. music, crying), and the appearance of the unfinished.