The humanist theory of the nude is one of the places where what can be called a ‘poor metaphysics’ developed during the Renaissance. To construct the concept of the nude as a representation of man in his own right, art theorists used common scholastic categories such as substance and accident, form and matter, potentiality and actuality, quantity and quality, whole and part, soul and body. Resolutely poor in its object – the human body, the work of art – (...) and in its form – technical treatise, fictional dialogue, or simple working notes – this reflection is nonetheless rich and original because of what constitutes its very weakness: the contamination of the Aristotelian metaphysical tradition with Neoplatonism, Vitruvianism, elements of natural philosophy, musical theory, and even Kabbalah. It testifies less to the permanence of scholastic metaphysics during the Renaissance than to the ingenious adaptation of its tools to new, humbler, and more rebellious objects of thought. (shrink)

Born like Venus on the half shell from the centuries-long tradition of the nude in painting, the nude first appeared as a subject matter in photography with the introduction of the medium itself, between 1837 and 1840, and has continued as an ever-evolving theme through changing technical developments and cultural mores to the present day. This volume surveys the subject of nudity from the earliest surviving photographs of Greek and Roman sculpture through studies of living nude models (...) for aesthetic or scientific purposes to the burgeoning practice of exploring the human body as pure form. The seventy-eight works, selected from the extensive collection of the J. Paul Getty Museum and further contextualized here in the essay “Masterworks of the Nude,” span the entire arc of the history of photography in a manner that is both fresh and illuminating. Among the sixty-four photographers included are nineteenth-century masters Julia Margaret Cameron, Edgar Degas, and Thomas Eakins; early-twentieth-century artists Man Ray, Alfred Stieglitz, and Edward Weston; mid-twentieth-century innovators Bill Brandt, Harry Callahan, and Minor White; late-twentieth-century image makers Diane Arbus, Robert Mapplethorpe, and Herb Ritts; and contemporary artists Chuck Close, Timothy Greenfield-Sanders, and Mona Kuhn. (shrink)

A central topic in Cohen’s Ästhetik des reinen Gefühls is the artistic representation of the human figure; in Cohen’s reflections on this topic, the nude has a fundamental importance. The first aim of this paper is to examine Cohen’s theses on the role of the nude in figurative arts, as well as his comments about sculptural and pictorial works representing nude figures. This will bring us to take into consideration Cohen’s judgement about eroticism in art. Some brief (...) considerations about the nude in contemporary art, and above all in photography, will be expressed in order to evaluate the topicality of Cohen’s aesthetics concerning this theme. These considerations, however, will make it necessary to rethink Cohen’s judgement regarding eroticism in art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Big Women:Mark Adamo's Lysistrata, or the Nude Goddess Between Monteverdi and Musical ComedyRalph HexterWe live in an age when opera companies across America are regularly presenting new operas, and some of them are even making hesitant first steps into repertory status, though it is too soon to tell how long- or short-lived their performance history will be. Opera itself began—Peri's Dafne (1597) is commonly regarded as the starting (...) point—as an attempt to recreate Greek tragedy on the stage, and for at least its first two hundred years, plots drawing on classical material, if not always classical literary texts, were staples. Nineteenth-century opera composers were relatively less inclined to turn to the classics for plots and characters, but the twentieth century witnessed renewed activity in classically based operas, from Strauss' Elektra (1909) and Stravinsky's Oedipus Rex (1927) to Hans Werner Henze's Venus und Adonis (1997) and Randolph Peters' The Golden Ass (1999), to name but a few significant examples. Mark Adamo's Lysistrata, or the Nude Goddess, which premiered in Houston in 2005, is among the first operas in our new century to continue the tradition.Accompanied by a trio of distinguished distaff classicists, I attended the 2006 revival of Lysistrata, or the Nude Goddess at the New York City Opera. Some months later, as word of the outing—any resemblance to this or any other Aristophanic comedy is purely accidental—trickled out, AJP's editor asked me to write this "Brief Mention." The reader will infer, then, that I neither watched nor listened with the idea of writing such a notice. What follows are reflections based partially on recollection of my immediate impressions (especially of the music) but also on subsequent study of the published libretto,1 Adamo's earlier and quite popular Little Women (1998), and stray remarks of the composer in published or online [End Page 119] interviews. In no sense is it a review of the particular April 2nd matinee performance that I saw. Of that let me say that my impression was almost uniformly positive. The principals, who have very demanding parts (and not only vocally), were strong; several were reprising roles they had taken in the Houston world premiere.Adamo states on the title page of the libretto that the opera is "[f]reely adapted from the play by Aristophanes," and this is both true and to the good. Before I turn to the adaptation itself, it might be worth observing that within the reception history of ancient stageworks in opera, the tradition of classical comedies turned into operas is relatively slight. I put it that way because, of course, one might well argue that New Comedy in its Roman form is the ultimate source of all opera buffa. I say nothing new when I place Figaro directly in the line of servi callidi.2Greek Old Comedy (i.e., given the state of preservation, Aristophanes) has only infrequently provided fodder for opera. One of the most interesting cases is Walter Braunfels' setting of Aristophanes Birds—Die Vögel—premiered in 1920. Braunfels (1882–1954) was fired from his teaching post by the Nazis in 1933—he was half Jewish—and his works were banished from the repertory. Die Vögel, his most successful stagework, has been recently revived, and a recording is available in Decca's "Entartete ["degenerate"] Musik" series. One must also recall the famous Frogs performed in the pool of Yale's Payne Whitney Gymnasium in 1941, since, a generation later, in 1975, the piece was revived, provided with music and lyrics by Stephen Sondheim and, like so many other shows, transferred from New Haven (if not the Shubert) to Broadway.3Aristophanes is more at home, I would argue, in American musical comedy than in opera, at least opera as it has come to be received by modern audiences treated almost without exception to post-Gluckian opera, with major houses, until recently, shunning the more interesting hybrids. (Think even of Carmen and how long it took for it to lose the recitatives by Guiraud that replaced the original opéra comique spoken dialogue.) To modern spectators or readers, Aristophanes, with... (shrink)

Collingwood’s concept of corruption of consciousness is introduced, followed by an extended example from art history. While the typical Renaissance nude enabled, or even encouraged, corruption of consciousness on the part of the male spectator, the nudes by Goya and Manet led the viewer to confront his disowned feelings, thus serving as a medicine for the corruption of consciousness. Finally, I examine the role of corruption of consciousness in the treatment of antisemitism in Elia Kazan’s 1947 film Gentleman’s Agreement.

The undraped human form is ubiquitous in Western art and even appears in the art of India and Japan. Only in China, François Jullien argues, is the nude completely absent. In this enthralling extended essay, he explores the different conceptions of the human body that underlie this provocative disparity. Contrasting nakedness with nudity, Jullien explores the traditional European vision of the nude as a fixed point of fusion where form joins truth. He then shows that the absence of (...) the nude in Chinese art evinces an understanding of the human body as changeable and transitory. Viewed in light of each other, these differing concepts allow for a new way of thinking about form, the ideal, and beauty, enabling us to delve deeper into the relationship between art and the ideas that lie at its roots. Beautifully illustrated and gracefully translated into English for the first time, _The Impossible Nude_ will fascinate anyone interested in art history, Chinese art, or aesthetics. (shrink)

In an effort to address the image of the nude as a concern of both feminist aesthetics and existentialism, this paper shall provide a critique on the male gaze in visual art by means of Jean-Paul Sartre’s analysis of the image and the imagining consciousness. This paper aims to reassess not only the aspects surrounding the male gaze but the nature of its image. In this sense, while objectification is part of the nature of the nude, both the (...) representation and the imagining consciousness of its spectator play a part in the objectification of the nude as image. This paper argues that through Sartre’s account of the nature of images, the male gaze misconstrues the represented nude through her image in most works of art. I will show that as an act of the imagination, the male gaze elicits the sexually objectified representations of the nude and that the reality of the nude is conflated with its image thereby producing irreal, objectified and prejudiced representations of women. (shrink)

This study analyses three scenes of female nudes in three Spanish films made in the first decade of the 2000s: The Naked Years by Dunia Ayaso and Félix Sabroso, Take My Eyes by Icíar Bollaín and Elegy by Isabel Coixet. It elucidates the ethical rules of engagement with the spectators the directors propose, particularly in regard to the commodification of the female body. The theoretical framework draws mainly from the work of the Spanish philosopher Fernando Savater and approaches the subject (...) matter from a feminist perspective. (shrink)

Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally encoded memories, and your corporeal proficiency (...) with respect to various environments and activities. Saville is concerned with body image issues, and I discuss how she reconfigures representational practices with respect to feminine body images. However, the most exciting potential for feminist analysis of the state of the female nude derives from the concept of the body schema, for this concept endows the human body with subjectivity and agency. My key question, then, is by what pictorial means and to what extent Saville succeeds in representing agentic womanhood. I argue that interpreting Saville’s paintings from the standpoint of the body schema demonstrates the radicality of her remaking of the female nude and the rapport between her imagery and feminist values. (shrink)

In “What’s Wrong with the (Female) Nude?” A. W. Eaton argues that the female nude in Western art promotes sexually objectifying, heteronormative erotic taste, and thereby has insidious effects on gender equality. In this response, I reject the claim that sexual objectification is a phenomenon that can be generalized across the experiences of women. In particular, I argue that Eaton’s thesis is based on the experiences of women who are white, and does not pay adequate attention to the (...) lives of racialized women. This act of exclusion undermines the generality of Eaton’s thesis, and exposes a more general bias in discussions of the representation of women in art. Different kinds of gendered bodies have been subjected to different kinds of objectifying construal, and the ethics of nudity in art must be extended to take such variation into account. (shrink)

In this paper I present some reasons for seeing Duchamp's ready-mades as part of the history of sculpture and relate them to his engagement with both nudes and chess motifs.

In 2014, a large archive of hacked nude photos of female celebrities was released on 4chan and organized and discussed primarily on Reddit. This paper explores the ethical implications of this celebrity nude photo leak within a frame of gendered privacy violations. I analyze a selection of a mass capture of 5143 posts and 94,602 comments from /thefappening subreddit, as well as editorials written by female celebrities, feminists, and journalists. Redditors justify the photo leak by arguing the subjects (...) are privileged because they are celebrities; that the celebrities are at fault for failing to appropriately protect their information; and that the only person ethically responsible for the leak is the hacker. The popular press primarily took a feminist perspective, linking the photo leak to institutionalized sexism and misogyny. I argue that the Reddit participants frame the privacy violations within a context of geek masculinity, in which references to masturbation and pornography and casually misogynist language are used to signify a normative masculine self. Privacy violations are de-emphasized when the victims are women and gender or feminist concerns are rejected. Entitlement to viewing women’s bodies and male sexual desire are prioritized over ethical concerns over privacy violations. The paper contributes to understanding how privacy violations are normatively gendered and reinforced by gender inequality. (shrink)

Dans cet ouvrage directement tiré de sa thèse intitulée « Female Public Nudity in Belle Époque Paris » et soutenue en 2006 à l’université de Floride, Lela F. Kerley retrace et interroge le processus conflictuel qui a accompagné la normalisation de l’exhibition publique de la nudité féminine à Paris entre 1889 et 1914 sous l’effet d’expérimentations artistiques et de la prolifération du nu féminin dans le répertoire des music-halls. L’enquête s’intéresse aussi bien aux pratiques et motivations...

In this essay a selection of images of women Olympians who have opted to pose nude in calendars, in Playboy magazine and in mainstream men's magazines is critically analysed. It is argued that when women athletes pose nude, their talent and incredible skill are trivialised because they are sexually objectified. Based on Nussbaum's theory of objectification, a continuum is developed to analyse the said images. The analysis highlights theories of sexualisation, heteronormative culture, and homophobia which are entangled within (...) the apparent justifications for posing nude. These are rejected in favour of the objectification critique. (shrink)

Drawing on 45 interviews, this article addresses how heterosexual men and women respond to and discuss opposite and same-sex nude images in distinctive ways. Viewing both female and male nudes provides an opportunity to observe the sexual and gender identity work men and women perform when confronted with this cultural object. Both men and women have access to shared, readily available cultural scripts for interpreting and responding to female nude images. Neither men nor women are culturally adept at (...) the interpretation and use of nude male images, particularly the man in the soft porn frame. Men respond to this male nude with overt rejection and stated disinterest. Women are more likely to reject the seductive advance or welcome it with attached feelings of guilt. (shrink)

As sexting has become more common, so has the sharing of nude and semi-nude images of others. While women and men may both engage in this practice, when they do so they often participate in distinct gendered rituals. Drawing on 55 in-depth interviews with college students, I examine how the symbolic meanings attached to men and women’s nude images in the context of intimate heterosexual interactions shape collective rituals of sexual pursuit and sexual rejection. I find that (...) men share images of women with their peers to demonstrate sexual prowess and receive praise, whereas women share images of men with their peers to cope with unwelcome sexual advances and receive support. These gendered rituals are linked to the perceived desirability of men’s and women’s nude images. While rituals of domination appear among men and reproduce unequal gender relations, rituals of commiseration appear among women to resist unequal gender relations. (shrink)

The hospital gown is a particularly charged article of clothing. For the chronically ill and disabled, the ritual of donning the gown signals a change of identity from “person” to “patient.” This essay chronicles the metamorphosis of a standard hospital gown into a work of wearable art that showcases the glittering pregnant body. Rather than thinly shrouding nakedness, this gown reveals the nude, gravid, and disabled figure as not only worthy of artistic concentration, but full of wonder and enchantment. (...) This work emerges from the author’s decade-long collaborative practice with her sister, Devan Stahl, as her experiences living under the medical gaze are compounded in the pursuit of motherhood. The _Imaging Gown_ takes up past and present visual cultures of medicine and re-presents them with sublime sensibilities that affirm the patient perspective. (shrink)

This article examines a number of philosophical concepts that are at stake in the visual culture of the nude. It particularly focuses on Aphrodite’s appearance, or rather, what I call her exposed concealment, in Jean-Luc Godard’s 1963 Le Mépris. A film, I argue, which is not only concerned with Aphrodite and the figure of the female nude via Brigitte Bardot, but which also explores the very idea of the sex goddess in cinema. In the first section I introduce (...) arguments from T.J. Clark about the changing status of the nude in nineteenth-century France. In the second section, having introduced Kenneth Clark’s work on Aphrodite, I outline Michael Williams’ work on the archaeology of divine stardom and discuss my disagreement with the way Ginette Vincendeau and Colin Gardner interpret Bardot in the film. In the longest section, the third, I examine several shots in Le Mépris in conversation with Stanley Cavell and argue that the nude scenes both invoke and rework the pictorial language of nudity found in the history of painting and sculpture, as well as Bardot’s film back catalogue, and I conclude by suggesting the film provides an indirect critique of what Hegel says about female nudity. (shrink)

Understanding the processing of sexual stimuli has become a significant part of research on human sexuality. In addition to individual characteristics, empirical studies have shown that cultural factors play an important role in sexual stimuli processing. The attitudes toward sex have been reported to be more conservative in East Asian societies as compared to western countries, and significantly more sexual difficulties are observed among East Asian people. However, stimulus materials, which potentially facilitate human sexuality research on native East Asian people, (...) are relatively not satisfactory. Erotic stimuli depicting East Asian figures are limited in the existing picture datasets. To address this issue, we present a collection of 237 erotic and 108 control pictures, accompanied by self-reported ratings of sexual arousal, pleasantness, and sexual attractiveness for opposite-sex erotic stimuli by heterosexual males and females. This collection is divided into six categories, depending on their contents: dressed males, semi-nude males, nude males, dressed females, semi-nude females, and nude females. We showed gender differences in sexual arousal, pleasantness, and sexual attractiveness ratings in response to opposite-sex erotic pictures. Males reported the highest levels of sexual arousal, pleasantness, and sexual attractiveness for nude female pictures, whereas females reported the highest levels of sexual arousal, pleasantness, and sexual attractiveness for semi-nude male pictures. The erotic picture dataset may provide a useful resource of erotic stimuli that can be used as stimulus materials in experimental research on sexual function in East Asians. (shrink)

Stripping the Virgin Mary of the myths, stories, and dogmas surrounding her is a task that has particularly appealed to a branch of feminist theology which seeks to reclaim her as a figure of female empowerment. This article aims to explore the transformation of Mary’s body into an element of resistance in the work of some contemporary artists. By depicting her nude or semi-nude, artists disrupt the gender values commonly associated with the Virgin and open up alternative possibilities (...) of affirmative selfhood through her body. I contend that, in these works, the Virgin’s body functions as a ‘relational’ body that enters into dialogue with hitherto marginalized categories, such as the carnal, the sensual, the notion of fleshly materiality, or even the excluded sexualities of transgender people. (shrink)

Strip clubs have rarely been analyzed in terms of their gendered organization. Instead, the literature on stripping emphasizes interaction-based perspectives that focus on strippers, patrons, and broader macro-structural trends. Although interaction-based perspectives are valuable, they often neglect to consider the context in which these interactions take place, the strip club itself. Such studies also tend to neglect the larger cast of club characters who own, manage, and work. This study explores workplace dynamics in The Lion's Den, a club featuring (...) class='Hi'>nude female dancers who perform primarily for male patrons. Informed by feminist and gendered organizational theory, this research utilizes sociologist Joan Acker's framework for studying gendered organizations as a way of augmenting interaction-based perspectives. Applying her approach to a strip club, an overtly gendered setting, this research demonstrates the importance of context in facilitating particular gendered processes, stereotypes, and gendered substructures. (shrink)

A critical study of the private, homoerotic, interracial photographs taken by Carl Van Vechten, a patron of the arts of black America, presents an array of sixty duotone photographs that celebrate the sensuality of the nude male form, accompanied by an analysis of the relationship of the images to the photographer's private desires and the underground gay culture of the era.

The central problem posed in these essays, collected from over a decade, is how in the wake of Western ontologies to conceive the coming, the birth that characterises being. The first part of this book, 'Existence' asks how, today, one can give sense or meaning to existence as such, arguing that existence itself, as it comes nude into the world, must now be our 'sense'. In examining what this birth to presence might be, we should not ask what presence (...) 'is'; rather, we should conceive presence as presence to someone, including to presence itself. The second section, 'Poetry', asks: What if art exposes this? In writing, in the voice, in painting? And what if art is exposed to it? How does it inscribe the coming of existence as such? The author's trajectory in this book crosses those of Hegel, Schlegel, Baudelaire, Nietzsche, Freud and Heidegger, in their comments on art and politics, existence and corporeality, everyday life and its modes of existence, and ecstasy. An analysis that dares this crossing involves all the varied accounts of existence, political and philosophical, as well as all the realms of poetry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

What is erotic art? Do all paintings with a sexual theme qualify as erotic? How to distinguish between erotica and erotic art? In what way are aesthetic experiences related to, or different from, erotic experiences and are they at all compatible? Both people and works of art can be sensually appealing, but is the beauty in each case substantially the same? How helpful is the distinction between the nude and the naked? Can we draw a strict line between erotic (...) art and pornography? We tend to think of art as complex and of pornography as one-dimensional, but how compelling is that differentiation? Pornography is often considered harmful, objectifying, and exploitative, but to what extent is erotic art immune to moral criticism of this sort? In addressing such questions this entry will provide an overview of current philosophical debates on erotic art. It will also place those debates in historical perspective and, in the closing section, explore some important avenues for future research. (shrink)

We critically analyze four images of female Paralympians posing nude in ESPN The Magazine’s Body Issue from the years 2009, 2010, 2012, and 2014. Past literature shows that media portrayals of female Paralympians emphasize esthetically pleasing bodies, able-bodied images and asexualization. Weaving’s continuum of sexual objectification was applied to assess the varying degrees of sexual objectification showcased within each image. From a feminist perspective, discourses of heteronormativity and ableism were applied to outline the concerns with female Paralympic representation in (...) The Body Issue. We argue that by normalizing disability and sexual objectification, woman athletes are trivialized. (shrink)

To the historian of art, it is evident that the two authors’ notion of ‘art’ is of very recent date, and not shared by everybody. They claim: ‘The purpose of art, surely, is not merely to depict or represent reality -- for that can be accomplished very easily with a camera -- but to enhance, transcend, or even to distort reality’ . They do not explain how one could photograph Paradise or Hell, the Creation of the World, the Passion of (...) Christ, or the escapades of the ancient gods -- all subjects that can be found represented in our museums. Nor is it more legitimate to generalize from certain Indian conventions of representing the female nude than it is for the academic tradition to take the Venus de Medici for the same purpose. Even a fleeting visit to one of the great museums might serve to convince the authors that few of the exhibits conform to the laws of art they postulate. [followed by response from V.S. Ramachandran]. (shrink)

Schopenhauer regards the ability to experience purely disinterested perception as the mark of aesthetic genius. Experience of the world as representation without interference of the individual will leads genius through imagination to grasp the Platonic Ideas underlying appearance, and then in a willful act of communication to depict the ideal in art. Schopenhauer's thesis that aesthetic genius is incompatible with the charming in still- life paintings of foods and historical paintings of nudes is criticized as inadequately supported by and arguably (...) inconsistent with his aesthetic principles. Nevertheless, Schopenhauer's views about the distractions of appetite and desire for aesthetic experience have a deeper significance in the philosophy of art. (shrink)

Otherness was at the center of the Levinese project, and in his ethics theory. In doing so, Levinas moved his project away from ontology, epistemology, and reason, to a point where the others are confronted in all its "nudes," to the point where it is recognizable that it cannot be reduced. In this article, I will examine the concepts of responsibility and the connection of the other person's humanism from his major books.

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

This study seeks to understand and critique the growing online trend of “revenge porn,” or the intentional embarrassment of identifiable individuals through the posting of nude images online. This posting of intimate pictures, often done out of motives of revenge for perceived relational scorn, is enhanced by the varying levels of online anonymity. Using the theoretical framework of John Dewey's pragmatism, this study both analyzes this understudied but complex new problem precipitated by the conditions of the online self and (...) establishes the groundwork for the use of pragmatist ethics in other areas of communication ethics. (shrink)

One of the most recent forms of gender-based violence is non-consensual intimate images dissemination (NCII). This type of offense, popularly referred to as “revenge pornography”, consists of the nonconsensual creation, dissemination, or threat of dissemination of nude or sexually explicit images (photographs and videos) of individuals. NCII is considered a public health issue because of its damaging psychological consequences, especially among adolescents and young adults. According to the social-ecological perspective, psychosocial variables (e.g., endorsement of sexist attitudes, rape myths, sexual (...) double standards, and stereotypes on masculinity) influence and bias perceptions of NCII, but research on these dimensions is still lacking. The present study aims to investigate such variables in a sample of Italian college students (N = 309, 65.4% female, mean age = 21.95, SD = 2.00). The results will be discussed in the light of interventions aimed at raising awareness of violence and its prevention, thus increasing youth well-being in their educational and everyday contexts. (shrink)

In the 1970s, a multifaceted alternative scene developed in West Germany. At the core of this leftist scene was a struggle for feelings in a capitalist world that seemed to be devoid of any emotions. Joachim C. Häberlen offers here a vivid account of these emotional politics. The book discusses critiques of rationality and celebrations of insanity as an alternative. It explores why capitalism made people feel afraid and modern cities made people feel lonely. Readers are taken to consciousness raising (...) groups, nude swimming at alternative vacation camps, and into the squatted houses of the early 1980s. Häberlen draws on a kaleidoscope of different voices to explore how West Germans became more concerned with their selves, their feelings, and their bodies. By investigating how leftists tried to transform themselves through emotional practices, Häberlen gives us a fresh perspective on a fascinating aspect of West German history. (shrink)