Working Paper: Possibility of Empathy as a Performative, Culturally Structured Practice

Brett Allen • November 18, 2025

This paper provides a glance at a future research project and a trend on social media. With empathy becoming the topic of the moment on social channels such as LinkedIn, it inspired a deeper look. In the past, I have looked at authenticity as a performance, and I could see some similarities. Empathy is becoming capital, something of neoliberal value to be traded, accrued, and generated profit from. In turn, empathy is being exposed as performative and even curated. I have applied some anthropological lenses, including those of Chronotopes.

Concept Draft:

Empathy is often described as an inherent human capacity, yet research across psychology, anthropology, history, leadership studies, and curatorial practice suggests that empathy is far from universal or evenly applied. Instead, it is selective, culturally patterned and shaped by power. This paper asks whether empathy should be understood not simply as an emotional response, but as a performative and curated practice that reflects broader structural, temporal and political conditions.Psychological models have long distinguished between affective and cognitive empathy (Stein 1917/1989; Decety & Jackson 2004; Batson 2011), although recent work questions whether self-reported measures of cognitive empathy actually correspond to cognitive empathic ability (Murphy & Lilienfeld 2019). Leadership studies similarly reveal that empathy can operate along different routes, influencing relational and task-based performance in distinct ways (Kellett, Humphrey & Sleeth 2002). Phenomenological and anthropological scholarship expands this view by emphasising empathy as a relational and culturally situated achievement rather than an internalised skill (Hollan & Throop 2008; Hollan & Throop 2011; Throop & Zahavi 2020). What counts as empathy varies across societies and depends on moral frameworks, cultural scripts and the conditions under which one life becomes accessible to another.


Work in cultural memory, structural violence and necropolitics helps explain why empathy clusters unevenly.


Some harms are dramatised, spectacular or narratively coherent, while others unfold slowly or bureaucratically and attract far less public concern (Galtung 1969; Nixon 2011). Processes of Othering (Said 1978; Spivak 1985) and state power (Mbembe 2003) determine whose suffering becomes recognisable, whose is minimised and whose lives are framed as grievable (Butler 2009). Historical studies of performance and re-enactment show that empathy can be actively produced through embodied storytelling and curated historical experience (De Groot 2011), while curatorial scholarship demonstrates how exhibitions and public narratives can be designed to elicit empathy in targeted ways (Mikhael 2018; Härtelova 2016).


To understand why empathy falters across difference, the paper introduces the chronotope (Bakhtin 1981) as a lens for examining how people inhabit divergent temporal worlds: linear, precarious, cyclical or intergenerational. Empathy often collapses when these time-worlds do not align, because the conditions shaping another person’s life are not legible within dominant cultural or narrative frameworks.


The aim of this paper is not to argue that empathy is insincere or wholly constructed, but to examine how it emerges through narrative, cultural practice and structure. By approaching empathy as curated, performed and shaped by temporal and political forces, the paper raises broader questions about how societies come to recognise some experiences while overlooking others, and what it might take to cultivate forms of empathy capable of engaging with diverse lifeworlds and structural realities.

By Brett Allen March 28, 2026
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By Brett Allen March 19, 2026
A few years ago, I would never have imagined becoming an ethnographer of the train. But geopolitics has a way of rearranging the mundane. As fuel prices surge, a consequence of unnecessary war in the Middle East and trade wars, all decided in distant corridors of power. The ripple effect has forced me to switch from my car to public transport. From driving the lines, tracing my own routes through the road network insulated in steel and glass, I was thrown in with everyone else.  What I found has become curious. A train line is not simply a route through space. It is a line, physical and imagined, entangled with a multitude of lives, intentions, and temporalities. Knotting together and unravelling at each station along the journey. A student boards at one stop, a shift worker departs at the next, and a consultant opens a laptop three stations later. The line gathers and disperses, gathers and disperses. Each node of the collection station, platform, and carriage doors rounds up and orders human packages. People gather, but they do not meet. They are collected. Sorted. Loaded. Pack away. Arriving at the station or stop, bodies pour out in a slow, uniform current, phones in hand, heads bowed. I couldn’t shake the image of workers leaving the machine in Fritz Lang’s Metropolis . The same shuffling gait. The same downcast eyes. But these aren’t labourers broken by industrial discipline. These are knowledge workers, voluntarily tethered. I began to think of the smartphones as umbilical cords. Unnecessary ones at that. These digital entanglements connect each person to hegemonic entities they can barely name or conceive. Big tech, algorithmic processes, AI, data architectures, concepts that don’t enter the mind of the commuter. So who is nourishing whom in this arrangement? The user feels connected, sustained. The platform extracts attention, data, and behavioural surplus. Both parties believe the other is the dependent. And then there were the laptops. People are already working buried in emails, spreadsheets, Slack messages — before they’d arrived at the office. Whatever happened to the Australian ethos of working to live rather than living to work? That sensibility assumed a clean boundary between labour and leisure, between the office and the beach. The smartphone has erased or weakened that line. Work, rest, and distraction occupy the same device, posture, and glazed expressions. You cannot tell from looking whether someone is answering their manager or scrolling memes. The activity is identical. I noticed all of this because I was reading Tim Ingold’s Life of Lines , a physical book, held in two hands, which, of course, is its own technology of insulation. Ingold distinguishes between the wayfarer, who moves attentively through the world, and the transported person, who is essentially a parcel moved from one destination to another. My fellow commuters had gone further. They were being transported through physical space while simultaneously being transported through digital space. Present in neither. Autonomous in neither. The train line, this thing that entangles us all at different points of time and space, had become merely a conduit, its knots of human meeting pulled tight and never opened. The car windscreen has been replaced by the phone screen. The private cabin has been replaced by the digital bubble. The insulation persists. It just changed the substrate. I looked up from my book and saw lines everywhere. The fixed line of the rail corridor. The invisible lines of the wireless signal. The lines of text on every screen. The lines of force run from Washington to fuel pumps to household budgets to train tickets. And the line I was travelling, entangled with a multitude at different points of time and space, knotting and unknotting at every station. We were all following lines. None of us chose quite where they led. Perhaps the most honest thing I can say is this: I am one of the drones, too. I was reading a book about lines while being carried along one, performing a more prestigious version of exactly what everyone else was doing, absent from the shared space, following a thread of my own. The only difference was the moment I looked up. Maybe that’s enough. The ethnographic instinct isn’t immune to the pattern. It’s the willingness to notice you’re in it.
By Brett Allen October 22, 2025
The problem is not that user journeys are messy; it is that our tools are too simple. We have been designing for lines when people live in (messy/overlapping) spirals. To understand that, we need to bring time, complexity, this is where anthropology can help.
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