Naked People Research Articles

Experiences and Psychological Impact Derived from Unwanted Exposure to Online Pornography in Spanish Adolescents

Abstract Introduction Unwanted exposure (UE) to sexual content may have important consequences on children/adolescents’ psychosexual development. Our objective was to analyze UE to online pornography, parental filter use, type of sexual contents seen, emotional/behavioral reactions, and UE as positive/traumatic experience in Spanish adolescents and to examine these experiences and reactions depending on the type of sexual content. Methods In 2020, 500 Spanish teenagers (13–18 years) completed an ad hoc questionnaire for the evaluation of different dimensions involved in UE to sexual contents, such as those mentioned in the study objectives. Results A high frequency of UE (88.2%) is observed. Regarding the kind of scenes, naked people, straight porn, and people showing genitals are the most unexpectedly seen. Adolescents used to react to the UE closing the window and deleting sexual materials. A greater predominance of negative emotions was revealed, and another noteworthy result is related to the role played by type of sexual content and gender. Gay scenes and being woman increased the probability of living the experience as non-positive, and being woman and viewing naked people/BDSM scenes/under-age sex were associated with reactions of rejection. Conclusions This study contributes significantly to the knowledge of UE to online pornography in adolescents. It provides valuable information about the role played by the type of sexual content seen and the gender in the diverse reactions/experiences derived from the UE to pornography. Policy Implications This topic, that is, involuntary exposure to online sexual material in adolescents, should be included in affective-sexual education and prevention programs at early ages, so that children/adolescents are already trained in healthy sexuality when facing this type of content for the first time. These programs, adjusted to the reality of our adolescents, will minimize the negative impact that UE may have on their psychosexual development.

Seguridad en el uso y compartir datos en redes sociales por estudiantes de la escuela secundaria

Resumo-As mídias digitais, em especial as redes sociais, transformaram a sociedade e a forma de se relacionar. Com esta percepção, esta pesquisa teve como objetivo levantar o conhecimento de estudantes do ensino médio acerca da segurança na internet. Como metodologia para coleta de dados foi utilizado um questionário eletrônico com 85 questões. Os 217 participantes da pesquisa são estudantes do ensino médio de uma escola privada do interior de São Paulo. Como resultado, constata-se que 98% dos estudantes utilizam alguma rede social; 71% dos estudantes afirmaram já ter recebido imagens de pessoas nuas ou fazendo sexo estas imagens foram acessadas principalmente através de redes sociais; O assunto com maior incidência de busca foi sobre “formas de ficar magro”; 71% dos estudantes consideram saber mais de internet que seus pais. A principal conclusão é que dada a constatação de que os adolescentes têm adotado um comportamento de risco no uso das redes sociais e não têm recebido a devida orientação a esse respeito, a escola tem um papel fundamental no preparo dos estudantes para lidar de forma segura com o universo informacional a que eles têm acesso cotidianamente, mas a própria escola também precisa se preparar para exercer este papel adequadamente.

Exhibition: Sea of Hull: Turning Blue in Hull.

Hull, 9 July 2016 (City of Culture 2017). Part of the free exhibition, SKIN, the Ferens Gallery, Hull , 22 April–13 August 2017. It’s been a while since I last wandered around a city centre at three in the morning (and I am not sure I have ever done it sober), but last July I was walking with over 3000 others into the middle of Hull. We had all answered adverts to be part of a new artwork by the US photographer Spencer Tunick called Sea of Hull . I have admired his work for a long time and so jumped at the opportunity to participate without a thought that I might end up naked in the middle of a busy city on a Friday night. After registering and being handed a pot of paint, I loitered, along with my companions, in the Queen’s Gardens awaiting further instructions. Eventually, Spencer explained what was going to happen and we were instructed to get naked and cover ourselves in the body paint, but to hurry, ‘as we are off in 3 minutes’. There was so much to do in so little time that I forgot we were removing all our clothes. It was quite surreal a few moments later to look up and realise you were surrounded by naked people in different hues of blue. We were ushered out of the park to a large rose garden and directed to stand around its paths. Spencer was high up on the top floor of the BBC …

HOW MANY NAILS DOES IT TAKE TO SEAL THE COFFIN? Review of Perry, R. J. (2015). Killer apes, naked people & just plain nasty people: The misuse and abuse of science in political discourse. Johns Hopkins University Press, Baltimore, MD.

HOW MANY NAILS DOES IT TAKE TO SEAL THE COFFIN? Review of Perry, R. J. (2015). <i>Killer apes, naked people &amp; just plain nasty people: The misuse and abuse of science in political discourse</i>. Johns Hopkins University Press, Baltimore, MD.

Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude

development of the Italian nude is fundamental to the Western art tradition, yet little attention has been paid to how audiences understood images of naked people. This essay uses previously unconsidered documents to argue that there was a shift in the understanding of nakedness over the fifteenth and early sixteenth centuries which was related to the voyages of discovery, particulary to sub-Saharan Africa. essay considers contemporaries' perceptions of nakedness as related to human potential and the devolopment of a Renaissance anthropology, looking first at images of Adam and Eve, and then considering the impact of fifteenth-century travellers' tales of naked natives on the perception of nakedness. focus then shifts to two renowned images: Pisanello's drawing of a naked woman commonly called Luxuria, and Antonio Pollaiuolo's engraving, The Battle of Naked Men. These previously puzzling works can be understood as commenting on the uncivilized and animalistic qualities of the naked non-European natives who were ripe for Christianization.

A hybrid neural network Imperialist Competitive Algorithm for skin color segmentation

Skin color detection is a popular and useful technique because of its wide range of utilizations both in human computer interaction and content based analysis. Applications such as detecting and tracking of human body parts, face detection and recognition, naked people detection and people retrieval in multimedia databases all benefit from skin detection. Hence finding a proper method for segment the skin-like pixels can solve the presented problems. The Imperialist Competitive Algorithm (ICA) is a new evolutionary algorithm which was recently introduced and has a good performance in some optimization problems. The ICA was inspired by socio-political processes of imperialistic competition of mankind in the real world. In this paper a hybrid ICA-ANN is proposed for solving skin classification. A new algorithm that combines ICA and ANN to solve skin classification has been proposed, and then a hybrid Neural Network (NN)-Imperialist Competitive Algorithm (ICA) is applied to solve the classification problem. In the proposed algorithm, a multi layer perceptron network (MLP) manages the problem’s constraints and an ICA algorithm searches for high quality solutions and minimum cost. The proposed color segmentation algorithm operates directly on RGB color space without the need of color space conversion. Experimental results show that this method can improve the performance of the MLP algorithm significantly.

How to Get Suspended and Influence People (review)

Reviewed by: How to Get Suspended and Influence People Karen Coats Selzer, Adam How to Get Suspended and Influence People. Delacorte, 2007183p Library ed. ISBN 0-385-90384-7$18.99 Trade ed. ISBN 0-385-73369-0$15.99 R Gr. 7-10 Leon is a gifted eighth-grader with an appropriately exaggerated sense of the cross he has to bear with his embarrassing parents. His father is a failed inventor who makes his living as an accountant, and both his parents are "food disaster hobbyists," which means they collect obscure cookbooks and try out all the most bizarre recipes. At school, Leon escapes the persecution reserved for the gifted by being into heavy metal, and he enjoys his gifted program, where this year they are going to make health videos to show to the sixth- and seventh-graders. He immediately chooses to make a sex-ed video and, after seeing La Dolce Vita, decides to go completely avant- garde with his own production of La Dolce Pubert. Blending stills of naked people from works of art with a few live-action moments in the absurdist tradition and an explosion in the eighth-grade-boy tradition, he finds himself in plenty of trouble with the conservative supervisor of the gifted pool and of course becomes a folk hero in his school. Smart and savvy on all fronts, this portrait of a young auteur is spiked with wry insight into what it's like to be remarkably intelligent but also still have eighth-grade sensibilities. Although he can parse grownups' good intentions out of their goofy execution, Leon is still surprised when the adults in his life show that they really do understand what's going on and can be reasonably cool about it. Selzer wisely distinguishes the genuinely gifted from the merely dorky in his character crafting; all of Leon's pals in the gifted pool ponder big ideas and express themselves in authority-challenging humor rather than, say, being good at chess or socially maladjusted. Leon's narration is full of read-out-loud-to-whoever-happens-to-be-around passages, and the plotting cleverly incorporates all of the funny bits along the way into its explosive finish and romantic resolution. Copyright © 2007 The Board of Trustees of the University of Illinois

Clarithromycin monotherapy-induced delirium

Sir, An 87-year-old male patient receiving clarithromycin treatment, 500 mg daily, for upper respiratory infection (sore throat without fever) was referred to the emergency room on the third day of drug treatment with a clinical picture of delirium. Physical examination results were normal. After neuropsychiatric evaluation, he was found to have lost orientation to person, space and time. His concentration and attention were impaired. He was agitated and experiencing visual hallucinations of naked people around him, as well as paranoid (that ‘his relatives were trying to poison him’), grandiose (that ‘he was a prophet’) and nihilistic (that ‘the world has come to an end’) delusions. Routine laboratory tests including complete blood count, erythrocyte sedimentation rate, electrolytes, hepatic and renal function tests, arterial blood gas levels, thyroid function tests, chest X-ray, vitamin B12 and folic acid levels as well as cultures, electrocardiogram, echocardiography and electroencephalogram, and computerized tomography results were normal. Cranial magnetic resonance imaging (MRI) showed cortical atrophy consistent with ageing. The patient didn’t use additional drugs, nor was there any history of previous drug reaction and previous psychiatric disorder. He was admitted to the neurology intensive care unit, monitored for cardiac and neurological functions and electrolyte balance was supported by parenteral feeding. Even before 24 h had elapsed after discontinuation of clarithromycin administration, the clinical picture ameliorated dramatically with no need for an antipsychotic or other type of medication. Neuropsychiatric evaluation repeated 48 h later was found to be normal. Since the patient’s psychical examination, blood tests, electrocardiogram, echocardiography, electroencephalogram, computed tomography and cranial MRI did not show any other organic causes for his delirium, and there was no other pharmacological agent in his treatment, the main cause of delirium in this case seemed to be the administration of clarithromycin. This hypothesis is further supported by the fact that as soon as clarithromycin was stopped, the clinical picture of delirium disappeared. There have been numerous case reports of delirium following antibiotic treatment, especially penicillins, cephalosporins and quinolones. Risk factors were defined as: prior psychiatric illness, severe medical illness, slow acetylator status, advanced age, renal impairment, increased permeability of blood–brain barrier, high antibiotic dosage, and intrathecal or intravenous administration. Clarithromycin is a macrolide antibiotic commonly used as monotherapy in upper respiratory tract infections and as polypharmacy in Helicobacter pylori eradication. The most common adverse effects of clarithromycin involve the digestive tract; it is much less frequently associated with hepatic cholestasis, skin rashes, ototoxicity with tinnitus and transitory deafness. Reports of neurological alterations during Phases I, II and III of the clinical trials with clarithromycin are very few. We believe this case to be of interest, since there is only one other report concerning delirium due to clarithromycin monotherapy in the literature and other cases involved polypharmacy. – 5 The most frequently reported psychiatric adverse effect associated with clarithromycin is mania. The clinical picture of mania caused by antimicrobial drugs has been termed ‘antibiomania’. There are 21 case reports of ‘antibiomania’ in the literature, together with unpublished cases from the World Health Organization and the Food and Drug Administration, six of which were with clarithromycin. Mechanisms of CNS toxicity of clarithromycin are as yet unclear, but drug interactions, a direct toxic effect of the lipid-soluble active metabolite of clarithromycin (14-hydroxyclarithromycin) on the CNS, alterations of cortisol and prostaglandin metabolism as well as interactions with glutaminergic and g-aminobutyric acid pathways have been considered. For this particular case, the mechanism that underlies the cause of delirium remains unclear, yet the fact that clarithromycin was administered as a monotherapy excludes the possibility of any drug interaction. Though clarithromycin treatment is relatively safe and effective, this case suggests that the neuropsychiatric status of patients receiving clarithromycin should be cautiously monitored during treatment.

Tosaphists and Taboo: A Review of Haym Soloveitchik's “Yeinam”

Among the stranger assertions made by Werner Sombart in The Jews and Modern Capitalism was that “it can be proved with great certainty that the Jew's freedom from the evil effects of alcohol (as also from syphilis) is due to his religion.” Yet, the Jewish religion, unlike Islam, never prohibited alcohol per se, and even when “kosher” wine—untouched by gentiles—was in short supply, beer or more potent beverages could be found by those so inclined. More to the point is S. D. Goitein's trenchant remark in the final (and posthumously published) volume of his A Mediterranean Society that “the proverbial sobriety of East European immigrants to the United States should not be taken as inherent to the genes of the race.” Although Maimonides in his Guide memorably described “gatherings with a view to drinking intoxicants” as “more shameful than gatherings of naked people . . . who excrete in daylight sitting together,” he was clearly speaking there more as philosopher than halakhist. In the medieval “Geniza society” in which he lived, as we learn from Goitein, all “important matters, such as sending a son overseas or promising a bequest, would be arranged at a drinking bout.”

Perchance to dream

Perchance to dream

The land of naked people: encounters with Stone Age islanders

This book offers unprecedented insights into colonization and modernization. Combining anthropological findings with historical accounts and personal travel stories, The author lts us glimpse at a primeval disappearing world.

From "Frühling (Spring)"

The novella Friihiing is an account-in the form of a countdown-of the last 39 seconds in the life of the pharmacologist Christian Rauch, who commits suicide with his lover Gucia in Spring, 2000. Gucia, a Polish prostitute, is the daughter of a victim: her mother was interned in the concentration camps Ravensbruck and Dachau. Christian is the son of a perpetrator, a former SS doctor who performed medical experiments in Dachau. The setting of the novella is a city of death which Christian enters as he begins to die. Here he must orient himself and recover the memory of his life. The novella-for which, on the whole, Goethe's definition still holds true, namely the account of an unheard-of event-struck me as the best possible form for the extreme story I wanted to tell. -TL :3 APPELL, HERR DOKTOR, APPELL! There is no longer any doubt about the place, there are only. The last and. The crucial doubts, as we stand here in the lightwaves of the days and years stand in the tide of time over the square of the man-eaters, which is extinct, frozen over, sealed, which could be filled up, dug out, covered with concrete, but never destroyed: this is how the man in our garden stood, Robert, here at this spot, APPELL, even the dead had to be brought out, the sick, the dying, the new dead every morning, APPELL, Robert, in front of the barracks in the avenue of white poplars whose branches pierce the sky like the skeletons of burned-out flames in the flicker of the timelightwave (suddenly the house, Gucia, something is still visible a. Struggle with your shadow. You have. Aimed. The revolver. At him.) today only the two of us are on the square, today, on this sunny day but in the flicker of time thousands stand with shaven heads, in striped pants, thin shirts stiff with filth, in a winter night, until dawn breaks and new frozen bodies are dragged up from the ground: APPELL: I cannot see them, Robert, I only guess at them: thousands upon thousands and so many of them trusting in the future: in us, Robert, but I could. Only live my life and dream of a stadium of final. Healing: of doctors with no touching. Maybe you still see a figure behind my back, the dark friend who takes. Me to these places where. No one can breathe now where. Must we begin, Robert? Still you say. Nothing, you do not move your lips, you are there and. Not there. With a single question we came to this place, alone, many years. Apart. Did you know, do you know the. Answer? Had you already learned it from the man in: our garden, back then. Without. Asking I. Believe: not, Robert, but you went in search, you. Spoke with the unextinguishable ones, only to me you said: nothing, I was only fourteen. When you threw yourself in front of the train but now it is time together we cross the square walk out onto it again from the entrance so easily open the gate which swings on its hinges at eye level the iron writing recedes R B E I T CHT FRE you walk in front of me, Robert, through the screaming emptiness of the present of this square in which all that can be seen is what we know: a summer day in the dispensary, Gucia (as if you had to know her, Robert, as if all three of us could soon speak together), on which dr. x. gazes out over a goldfish bowl at his side an orderly who murders for gold teeth and behind him the fever-stricken for whom he ordered the bell-glass with the mosquitoes bavarian malaria, Robert: was that what you found out Dr. X's visits to Dr. R.?: in the winter nights the naked people shackled to plank beds and doused with cold water: in tubs filled with ice water prisoners float screaming in pain: the limbs intentionally laid open and made to putrefy: those plunged from 15,000 meters filmed right on the ground in the altitude chamber in the last spasms of vivisection skull opened air embolism in the brain vessels: What do we know, Robert, but that Dr. X. had no parents and that we were halved grandchildren with a dead half and a living half almost happily orphaned but in the wrong generation. …

Statistical color models with application to skin detection

The existence of large image datasets such as photos on the World Wide Web make it possible to build powerful generic models for low-level image attributes like color using simple histogram learning techniques. We describe the construction of color models for skin and non-skin classes from a dataset of nearly 1 billion labeled pixels. These classes exhibit a surprising degree of separability which we exploit by building a skin pixel detector that achieves an equal error rate of 88%. We compare the performance of histogram and mixture models in skin detection and find histogram models to be superior in accuracy and computational cost. Using aggregate features computed from the skin detector we build a remarkably effective detector for naked people. We believe this work is the most comprehensive and detailed exploration of skin color models to date.

Maleriet og den ny krop - fire nordiske kunstnere 1900-1914

Kunsten og maleriets fortolkning af kroppen i begyndelsen af 1900-tallet. Artiklen beskriver kunstnerens fremstilling af mandekroppen som et æstetisk objekt ofte med naturen som motiv.Nordic Painters and the new Body.The thesis of this article is that in the period around the turn of the century there was a decisive new departure in the perception of time and space in Nordic countries. This was expressed in the very movement of the body in time and space, in the areas of sport and physical exercise amongst others. It is also true of the representations of such movements, that is to say in literature and art. The article interprets the new knowledge of the being and the living space of the body in the years after 1900, including its relation to the pictorial arts. Of the Nordic painters who took sport and the body as their theme, four have been selected here. In Norway, Edvard Munch was working his way out of the straitjacket of self-obsession during the years around 1910 and for that reason became for a short period sun-worshipper and vitalist. Between 1910-12 Magnus Enckell from Finland painted a series of outdoor pictures full of lyricism and light depicting naked people on the margin between land and water. J.F.Willumsen travelled from Denmark to southern Italy in 1902 to create a set of photographs of naked boys bathing, which he later translated to large-scale oil paintings. Finally, there is Eugène Jansson from Sweden, perhaps the greatest sports enthusiast of them all. After 1910 he became increasing interested in power sport as a motif, exploring the compositional possibilities of the body and its ability to provide variation and harmony. The article demonstrates a marked difference in the perception of the body and its movement in the work of these four painters. At the same time there is a fundamental similarity in their enthusiastic and at the same time fearful fascination for corporeality and its new incarnation, which is so characteristic for the first two decades of the 20th century.

La sape des mikilistes : théâtre de l'artifice et représentation onirique

Abstract The Mikilists' sape: A theater of ingenuity and dreams. — Sape is a clothing style adopted by some young people from the former Zaire or Congo who are living in Europe, mainly in Paris: their lives are based on acquiring expensive clothes bearing designers' labels. Underneath appearances however, the attentive observer can see the symbol of an ambiguous meeting between Africa and the West. Colonization, the white man's burden, intended not just to regenerate the Negro's primitive spirit but also to tame and train his body, and clothe naked people. During the 1920s in Brazzaville, Europeans paid their "boys" by giving them their old clothes to wear. Out of that arose sape not just as the duty to be elegant or the desire for social status but as a relentless quest for an identity to be worked out of the meeting between Europe and Africa. Sape appropriates material signs created by the West for a dream trip leading these young Africans from the "bad cities" to the "cities of light", from Kinshasa and Brazzaville to Brussels, London and especially Paris. The aim is to redeem one's body and exhibit it in the West far from the chaos in Africa. Sape has all the characteristics of a subculture that not only attacks the social order and scrambles this order's reference-marks; it also endeavors to reconstruct reality through the dreams egotistical appearance offered to followers, the sapeurs.

Flesh Need Not be Mute: The Pornographic Videos of John Leslie

One of the major challenges for the hard-core filmmaker has been the placing of acts of intercourse within the narrative. In the thirties the director Marcel Pagnol once caught his cameraman with some pornographic footage that the latter was shooting on the sly. Wasn't it difficult to shoot naked people for a stag film? asked Pagnol. No, said the cameraman, the problem was creating a story to make the sex credible. 1 In a sense a naked body makes its own story, but sex can halt it: however much taboos have dissipated, the sight of actual sex still disrupts continuity. Linda Williams, following Richard Dyer, suggested that heterosexual hard-core films are structured along the lines of musical comedy, with ejaculations climaxing quasi-musical rifts; hers is a useful, charming interpretation. 2 Few critics, however, have improved on the theoretical succinctness of Roberta Findlay's comment on the construction--or deconstruction, since pornography has always "deconstructed" itself--of pornographic scenarios. According to Findlay, hard-core porn films resemble opera: "You have the opera story, but then everything stops when the soprano has to sing. It's the same thing in sex films. The story goes on, then it stops, then they have to screw." 3

Jozef Szajna's Replika

The expressionistic images that Jozef Szajna employs in his production of Replika have their roots in the World War II concentration camps of Poland, where the Polish director was sent when he was seventeen. This past spring he brought his production to the Slavic Cultural Center in Port Jefferson, Long Island, New York, from his Teatr Studio in Warsaw. It played March 12 through April 2. Szajna commented that “the concentration camps were my university.” After he was freed, he continued his studies at the Academy of Fine Arts in Warsaw where he began “to re-examine what we call acting in the theatre.” He soon found that the theatre itself had become another concentration camp. “It was the pop art that was created by the Fascists: hair, shoes, limbs, dolls, naked people.”

Naked truths of Naked People: an Account of Expeditions to the Lake Victoria N'yanza and the Makraka Niam-Niam, West of the Bahr-el-Abiad (White Nile)

Naked truths of Naked People: an Account of Expeditions to the Lake Victoria N'yanza and the Makraka Niam-Niam, West of the Bahr-el-Abiad (White Nile)