Sexualised Society

By: Jonathan Seidel

Bikinis and mini skirts: are woman causing their own demise? Are they partially to blame for sexualising themselves? (Barthes, 84)

Self-sexualisation is a dominant theme in contemporary culture. Following media tropes and beauty standards, a desire mounts to be validated by sexuality. Yet it may also be self-defeating in male reaction further harming the problem.

Men do act viciously concerning women but the desire for the woman is not out of nowhere. It is spawned by her beauty. Her beauty enshrines his mind. Capturing him in a psychotic hypnosis. He feels connected to her. He wishes to have her. Her beauty is overwhelming. His lust increases with each passing second. Her image pleases his neurotic foundation. He ponders the fun. Fantasising of the jolly endeavour. He is deeply attracted to her appearance. It tingles his body and his body reacts. Urges creep into his mind. He musters up the confidence and heads her way. He wishes to chat her up and charm her. Hoping she’ll reciprocate his infatuation with her. A surface level feeling fleeting as he converses with her. Rejection angers him breaking his expectation. Acceptance mellows his heart. Her beauty applauds the direction of the hall. 

Her beauty is contagious. Her epidermis showing. Her curves potent and dress tight around her waist. Her depiction to the crowd alarms the spectators. Her beauty gleans through. A ray of light seducing the crowd. An unintentional consequence but one that occurs. A display of planned innocence is corrupted into devilish lust. Her image is the same as billboards. The slogans have male pleasing fulfilment. She is dressed like those posters. She is sending lustful energy. A sexualising effort to attract mates. She is calling to me. Her movements are all too clear. Her messages are easy interpreted. She hasn’t turned my way but she is looking at me with eyes behind her head. The back of her head is ridiculous. Her ponytail shines under the purple light show. Swaying her hips to the music as she attempts to sing out of tune. Her smile is genuine and her laugh irresistible. The male gaze is only apprehending the situation, not stalking. Enjoying the show. She is performing for me. A spectacle for my taste.    

Look at her clothes she is asking for it. She is giving me those fuck me eyes. Is liberation really a form of undress? Free the nipple is only refuted by the religious. Return to the pre-sin paradise. Nudity in public is the lustful man’s dream. Yet its false medium between dress and undress is overtly appealing to the eye. More skin showing. The outline of cleavage is pronounced but it is still behind closed doors. Her boobs are covered, her nipples not shown but her indent is revealed. A striptease spectacle. She has decided to undress just slightly. She has decided to display her body openly yet with some restrictions. She refuses to permit the rest of her body to be unveiled. The tightness of her dress does make out her figure. Her butt is only fattened by her high heels. The observer sees this spectacle of undress. She is dressed but at the same time undressed. Unlike the stripper, she is not intending to put on a show. She does not begin dressed and slowly remove articles of clothing but enters the scene in such garb. Her openness does give off an aura of teasing. Look at my body but only what I permit you. 

The perspective of the male and the female is different. Is she wearing this dress to say something or does it feel good to wear less clothing. The feministic liberation point may have some truth to it but their taint of patriarchal exodus is misused in the context of heightened libido areas. To dress in such attire under the guise of liberation yet attending a promiscuous dance scene seems to be a little hypocritical and an idiotic tactic. Though the beach may be different. A bikini is fitting for the hot sun. Men go shirtless and wear swim trunks. If men are maximising their epidermis to the hot sun women may as well. The same can be said of joggers or at the gym. A sports bra is akin to shirtless. It is implementing the best clothing for a workout. Hell I workout in my underpants because I find it to be the most liberating and the easiest to manoeuvre (I also then do less laundry, everything is less smelly—it’s all about productivity). To avoid problematic male stares, the sexes could be divided up but that is not easy in the park or on a beach. People just need to behave themselves. The option is either to force women to cover themselves up and endure the vibrant heat or men just keep it in their pants. Staring is not the biggest problem it is the advances made afterwards. 

Men may stare more than women but the staring should not be overblown. Beauty is contagious. It can’t be helped. It is hard to avoid the luscious skin and figure of the opposite sex. Women stare at men with jaw dropping consistency. Men like the attention. Though unwanted advances are made frequently and society cares little. Potentially because of the lacking negative consequences or because male issues elicit unconcern. The imbalance works one way. Nevertheless, the former conclusion is a dangerous one. A man may be able to fend off a few stares and even unwanted advances. He is stronger and faster. He can be emotionless and ignore them. Women on the other hand can feel threatened and afraid to escape. Their emotional outbursts are credibly disastrous. The glances may be equal but the advances not. The ego may also play a detrimental role. As a rejected advance may result in an assault. Rejection isn’t a problem it is the frustration that builds up from the expectation. The social phenomenons of deathly male glances are a product of the tragic cases of egoism gone awry. 

To differentiate the club scene and the beach scene is to recognise a difference in methodology. The function of less clothing on in an intoxicating atmospheric dance floor may be of patriarchal liberation but also may be to swoon men. To look sexy on the dance floor for the observers. While they may not want unwanted attention they may indeed desire wanted attention. If a hot guy approaches them no big deal. It is the other ninety percent. The statistics are blurry but look like a stripper is to intentionally do so. The scene calls for objectifying oneself in a colosseum. A spectacle on display. Modest clothing veils the prized objects observers wish to glance at. It is a tease. Swaying to the music with cleavage showing is an indicator to onlookers to engage. Look at my body sexualise it from afar. It is a subconscious expression. It isn’t about liberation nor dance clothing but to exhibit in an image of sexiness. It is in this type of scenery that such dress is pounced upon. Whether the intent is simply for boggling there is an exposure for attention though selective. 

The beach scene is to undress in the heat. To be comfortable in the blazing sun. It isn’t to arouse attention but to enjoy the moment. Applying this to everyday wear may also be of enjoyment. Dressing openly for the breeze of its simplicity. There is a certain modelling to it. Yet there is also a strata of desiring that others look. Why put on makeup to look presentable? For self esteem as well as complimentary looks from others. Attempting to enjoin respect from others. Whether wearing a button down or a t shirt. Looking at oneself in the mirror before heading out, making sure hair looks clean and the outfit fits right. Comfortable and ready to seize the day. Feeling good but also wishing for positive gazes. Both sexes strive for admiration and acknowledgement. Dressing in a particular way to evoke desire. Desiring gaze but solely a glance of approval. Though there is an aspect of the beach body that is aspired. Going to the beach undressed to show off the body. The abs the curves the butt. It is not all in hopes for fawning attention but there is an interest in attention grabbing eye popping suckle blinking. The extent of desire is limited but is warranted.

Absent the advances the gazes may not be too problematic. The staring is the issue not the temporary glance. Catcalling and hollering at women is disturbing. The catcalling suggests lewd intentions. It isn’t harmless and cute, it is with grave intent. Catcalling in a club may feel good but not on the way to work. It is annoying and bothersome. The situational element is instructive. Its frequency in the wrong setting is cruel and tedious. It also depends on the terminology. Yelling nice tits versus you eyes shine are two different things. There is an enjoyable Key and Peele skit on this.  Yet even the simple neutral compliment can come off as derogatory. While this is entirely subjective, the sexual innuendos do hold up to scrutiny. As well as the whistling followed by the intimidating technique. Their harassing aspect is where it goes too far. Speech may not be violence but it is hurtful. It is demeaning and may precede a physical encounter. At the heart of the hurtful comment is the hurtful rejection. A catcaller ought not to be offended when he has offended her. If you give it you got to take it. There is a way to swoon if it is in good faith or if can be backed up and taken like a man. 

The catcalling issue speaks to itself. Catcallers may frequent those women with more cleavage showing but that isn’t always the case. A favourite barista may be hounded or a businesswomen in a pant suit. It isn’t always about the exposure. It may be more likely with more cleavage showing but necessarily so. The arousal higher shooting darts through the neural framework. Horniness spits out in a conjugated rhyme that is ignored in disgust. Catcallers may be themselves victims of a seductive society. The free porn, the half naked models. Women walking the streets in tight clothes. Film has them believe that women will prey to their needs. With one call they will be possessed. Hypnotised by their charm. It isn’t necessarily about power but about expectation. It is about self esteem and acknowledgement. No wonder they take rejection so hard. In their minds, this was the female’s intent. She was seducing him with her clothes. The fictional character was able to do the same. Men are also victims of a sexual matrix. A hyperreal mantra that attempts to feature film as reality. Translating those techniques ends in failure. There is malicious intent in certain circumstances but also may be a psychosis that believes in a predestined outcome. 

There is an imbalance between men and women. Missed communication and thus misinterpretation. The catcaller is paying a compliment but the female feels objectified and belittled. The harassment is unidentified in the catcaller’s mind. The same can be said of clothing. Are women wearing it to say something to men? Is their intent to tease them? Who knows. The issue is the assumption in the affirmative. Maybe she is so take the chance. Yet the passivity is not an admission of activity. Her clothing is not an admission of approach. Yet it is luring and seductive. The social apparatus condones the dress but not the verbalism that follows. The self-objectification is to be dismissed. Feminists have argued that men need just keep it in their pants. They need to shut down their libido, female autonomy is the most important. Yet this also works on the other side. Women ought not catcall they ought not to approach men in the same lewd manner but they do and nobody says anything. The imbalance is also a model of power. The equality heuristic must be applied evenly. Just because the threat is less frightening does not make the action equitable. Their male indent is scary yet the fault ought not to be the seduced alone but the seductress as well.

The hope is reach a point where this is unnecessary. Women need not cover up because men can’t keep it in their paints. Their arrogance seeks to win the female over by domineering. Yet she has made herself vulnerable but wearing such desirable attire. The fact it happens out on street in average gym clothes is parcel of the issue as well. Meaning that catcalling is greater than just a change of dress. The nudist colony may be the sole solution to habituate to the nude. To be desensitised to the vulgar. The tight dresses with a low cut pressing the breasts and butt out are intoxicating. It is a message to observers to look. Even if that isn’t the intent, the flawed deduction does so. Maybe some women are intending this but it would be misguided to group all women into such a group. To some degree it is just the style. Yet the frequent exposure of the sexualised areas does spell otherwise. Harassment must be voided. Rejection must be taken stoically. There is fault on both sides of the aisle. Responsibility must be applied. Knowing that this is the male response whether it be biological or sociological. Erasing such behaviour is implausible. Instead, compromise and protection is necessary. Yet accountability cannot be denied for some so-called liberation. 

Beauty is the hallmark of this problem. The cognitive function sees the beauty and responds lustfully. His neural network is seduced and he acts in a desirable manner. The psycho-sexual matrix is magnified by the societal tease. To want and be wanted is a dialectical binary that each is reflective. Both sexes wish simultaneously. They wish to be noticed festively. To be acknowledged purely positively periodically. Beauty is the seductress. The hypnotic label that is embedded in the ontology of a person. A spellbound locative presence. A flirtatious design to strangle the autonomy of neural function. The aesthetic is enticing and compelling. The subjectivity of beauty does arouse the endorphins by more sexual action than others. It is the pleasure seeking enjoyment that raises the emotional high. Dostoevsky proclaimed through the Prince that Beauty will save the world and there is a certain acknowledgement that raises self esteem. Yet beauty is also the riding dimension to hell. It is beauty that is prized and grasped with force. Beauty is desired. Verbal assault is either the first step or the cathartic attempt to shut up. A desire so powerful and so difficult to close. How to end this abhorrent harassment. 

Looking ugly wouldn’t change. Beauty is subjective but it is also relative. Modest clothing works when immodest clothing is in fashion. Yet for those sucked into the modest world, the hint of an ankle showing is seductive. Beauty is dangerous since it is desired. This desire becomes objectified and thus grasped. The mind has shamed man to struggle. A sin of the unalterable. Yet for all this disaster is the illumination of being. Beauty is an acknowledgment of the self. While the ogling and sexual innuendos are burdensome it is an acknowledgment of the other even if inverted. Beauty is contagious and it is difficult to suspend the compliment from the critique. The better version is to marvel from afar. To perceive beauty like a painting. The painting is to be observed complimented but not touched. The same with a queen. Women need to reclaim this regal charm. Does this occur in the feminine worldview? It remains to be seen. Yet the queen exists in a masculine society. A strong-willed women at the top of the food chain. It isn’t about strength or character but status. It is a respect. The sexualised comments became beauty assessments.  

       

The shift is not in dress or censorship but in attitude. Does the dress prompt less respectful attitudes? Potentially. They are perceived as a piece of meat because they are exposing their sexuality to the world. Yet there is also a sexualised matrix that doesn’t care for the dress insofar as the social attitude cultivates it. Whether in antiquity or medieval or modern. The libido is heightened not so much by beauty but by the aura of sexualised motif. A mass hypnosis of psychotic entrapment. To see beauty for its genuine purity, men need to break the spell and rise from the slumber to soak in the sublime beauty. The dress isn’t helping and only feeds into the struggling libido but it isn’t at total fault nor should it be the objectification. Instead of subjecting is the real need. Encountering the beautiful experience in affirmation. A respect for the tantalising appearance in complimentary form. It is not a legal but social outburst. A need for a new societal realisation for routine. 

Stripping Spectacle

By: Jonathan Seidel

The art of stripping: professionalism absent intimacy (Barthes, 84-85)

Strip clubs are hangouts for desperate men seeking validation. A night on the town for an enjoyable evening to splurge. A way of entertaining the spectacle of undressing. Near naked women dancing for the audience’s delight. Yet it is the middle of undressing without intimacy. A professionalism that solely observes without touching. The ideal is desiring the nakedness without seeing it. A moment of gradual build up that never pops. Keeping the mystery at arms length, keeping the excitement rolling. 

Historically stripping can be found on cave paintings. Ancient Sumerian myth tells of Inanna the goddess of love who in her descent into the underworld removed an article one gate at a time. Stripping was originally designated for fertility. A striptease was a measure of elevating the libido of a potential mate. Arousing the interest of the male. A theatrical movement that encourages excitement from the male counterpart. The male’s gaze fixated on the female’s body. Her once clothed self is erasing. Her covered cleavage is showing. Her modest demeanour shaken with sexual fire. Slowly she undresses, unveiling the secret of her sexuality. Her nude body protected by clothing. A modesty of enshrined purity. Her adorned body is pure flesh bare vulnerability of her selfhood. The personal exploitation of the self. Opening up to another at the core of self consciousness. Hesitating removal in fear of takeover. Calmly undressing in gradual faith in the other.  

She is exposed but in doing so influences the desire of the male mate. Each article of clothing represents a layer of defence. A layer of mystery and reproach. She divulges her body one rose pedal at a time. A process of engaging the body. Intoxicated by the desire for her sexuality. The more revealed the deeper the sensation. The male libido rises with each revelation. The slow subtle removal hypnotises the desired connection. The libido is confounded by emotional overload. Her actions permeate his mind. Filling his brain with sexualised doses of obscurity. Her vulnerability invites him in. She undresses to gage his readiness. To indicate to him of her desire for him as well. A mutual effort induced by flirtatious apprehension. He is seduced into her bodily revelation. Marked by her beauty and her desire to procreate. Her striptease is a call to invite him to partake in the experience.     

Her body is idolised. Her beauty is pinpointed and gazed upon. Clothed she is solely another female but as she undresses she imparts a divergence from other females. She is deviating in routine. Her beauty is becoming more apparent as the tattered clothes binding her are removed. Her smooth skin is clear to the ogling observer. He can’t but stare hypnotised by her beauty. With each article discarded his gaze becomes more fixated. He is marvelled by her beauty seduced to her increasing angelic form. Bare is to be purified from the toxic coverings hiding the truth. Exposed she is free and graciously elegant. Objectified in the seductive refraction. She has positioned herself as an object of concentration. The gaze only strengthens, popping out of their sockets. Beholden by her beauty subjected to her theatre. Her wish is for his encroachment to swarm her. Endorphins secrete as the sensation thrusts him toward her urging him to grab her. Yet he holds himself back wishing for the play to persist.

Theatrical uses in Ancient Greece and Rome play a different role than the fertile aspiration or brothel enjoyment. It is crystallised into a form of art instead of art form. Fertility desired male initiative. A flirtatious expression to wound up the observing male. To gather his attention and cast him under her spell. By alluring him with her impulse. Inviting him into her sacred space. A place of secrecy only for those who are awarded such permission. Disrobing is close contact theatre. Watching a play unfold in real time. The audience is in on the action. He is an actor in the play. Riveting in its proximity. Feeling the emotional pressure overwhelm his mind. He is locked into the performance. His eyes target her movements. It is for the entertainment. For his heart to skip as his endorphins heighten. His emotions bouncing in jolly excitement. Her beauty unfolding in front of his very eyes. Encapsulated by the wonder beholden to the unknown. 

She dances to focus his gaze toward her body. Her movements are styled and choreographed to perfection. The dance coveys a story with emotions sprouting from angelic sidestepping. Communicating messages to the audience. Her seductive messages engulf the audience in the spectacle of sexual desire. The dance is nonverbal, swaying her hips as his eyes further fixate on her elegant figure. Her dance spells professionalism. This dance is a performance. It is restricted access. Gaze and ponder at the beauty. Enjoy the production. So close to the action and yet so far. Hypnotised into the spectacle of her dance. Captivating his mind in the process. Communicating her information over to him. For him to sit back and enjoy the show. The climatic insurance is the absence of touch. Her dance is on the stage. Her exposure is to longed for. The mystery though steps away is worlds away. She is an object of mystery that is lusted and enjoyed. 

Private endeavours allow touch but one way. For the stripper to control the event. For the audience to enjoy the dance and movements. She is touching him but he cannot touch her. He is to relax his body with his eyes concentrated on her every move. Yet at times his emotions overwhelm him and he reaches to grab her body. His desire compels his egregious sin. Her objectification of mystery is perceived as his for the taking. His out of bounds action, his ruthless selfishness is akin to breaking the boundary between professionalism. He has been overtaken by his insidious thoughts. Her mystery is even more desirable. She has stripped but there is more. She controls and he desires to regain the authority. To proactively gather her into his arms. The nefarious action is an incitation taken too far. A drunkard with a control complex. The dancer is allotted protection from overwhelmed audience members unable to hand the striptease. Overcome with desire of the classic taboo. 

Interest in the striptease is in its lacking nudity. Nudity is the climax and the momentarily end to the mystery. The continuous unveiling of clothing is the excitement. The more cleavage the more curiosity. Yet with all clothes off, the beauty is there but the mystery is gone. The wonder fades into awe but normalises in time. Nudity will raise men’s hearts to the bare beauty but there is something missing. It is the almost nude that has the greatest success of endorphin release. Sexuality is at its peak in underwear. What do her boobs look like, is her vagina shaven. Covering up these places only spells mystery to the observer. Removing each covering expands the wonder. The first deduction is false maybe it is this way. The unknown increases the emotional investment. It is with the minimal covering that seeks to inspire more desire. She has nearly exposed herself but relinquishes that possibility. She keeps the mystery hidden. Retaining her purity in her professionalism. Sexualised up till her moment of cessation. There is a moment of persisted inquiry. He must know but once he knows that is it. The emotional investment has reduced. 

It is called a tease for a reason. It attempts to provide a considerable detailed possibility without revealing the answer. All the hints without the solution. Estimate, guess, only heightening the emotional engagement. A moment of lacking clarity. A murky wonder confounds the mind. Regressing to the bare animal is seductive in its aspirational intent. The tease is the absent intimacy. The relation is strictly professional. Even if a lover’s striptease is a performance. Do not intervene just observe. The object of concentration is disrobing and unveiling her truth. She is touched once her body is naked. Once she has revealed it all can she be touched. The foreplay is intentioned to raise the libido. To arouse the excitement. A lover who has seen her naked body is still aroused by her disrobing spectacle. He knows what to expect. The mystery is no more but the gradual unveiling is still impactful. It still fixates his eyes and motions his brain. Hypnotised ever again. 

Intimacy is the moments following the nude. It is the realisation of the sexualised. The climax in her underwear fuels his passion. He wishes for her to become nude to reveal the mystery haunting his memory. Wishing to grab at her clothes and tear them off. Yet he patiently awaits her action. Calming himself to enjoy her control. Prioritising the connection over the function. The connection is fraudulent, a hoax. A way of enthralling the male mind for a tease. To chase her around the park for her to show him what is in her palm. Finally tackling her she opens her hand and there is nothing there. The tease is a stage of indeterminacy. Hope for more but forbidden. The tease is a latent distraction for potentiality. A desire menacing in its compulsion. The lover undresses subtly hinting to nudity but reaching there on her own terms. The lover incites his investment holding out for his passion to reach its climax. Her objectification lasts as long as she has yet to unveil the mystery. Tarnishing her sanctity to the mundane.

Her performance is lauded. A desire for something he can never have. He watches from afar holding himself back. In awe of her beauty his libido rising with each step to nakedness. She is objectified and fixated. He cannot tear himself away. Placing himself in an illusion of aspired emotional interest. A sexualised pursuit cut short by climaxed hope. A mystery to remain hidden. To tease the possibility of sexualisation only to keep the audience guessing. Pondering of her true figure of her bare beauty. A mystery professionalised and produced in a spectacle of excitement.

Triangular Nipples

 

By: Jonathan Seidel

Free the nipple: prideful shirtless men and shameful half naked women 

A decade ago, a movement began for women to embrace freely topless in public. It hasn’t caught on globally with many conservative respondents feeling a bit inappropriate. What is the difference?

Anyone who tells you that wearing a bra is a part of the patriarchy is either delusional or speaking of a specific religious society. Ask a man on the streets if woman should walk topless and he’d happily welcome it. Apparently seventy years ago men weren’t able to be topless. Men fought and were provided the access. There was a certain religious asceticism that has barred skin. Reminding of the classic epidermis tease. Skin is apparently a nose bleed away from fainting. Arousal at the expense of freedom. Norms stapled into the psyche. Liberation is the cause for oppressive cover up. Pigs do roam the streets delighted to see a nudist colony surrounding them. Oh the freedom they’ll say. Eyes bloodshot boners stiffly erected. Nipples hardened and vulva irrigated. Quite the imagery. Horniness amidst a mood swing. Even with clothes on, men get erections, all the more so naked. Libido won’t miraculously vanish. While it may become more normal to see boobs it doesn’t take away from the desire. Will everyone be walking around with a boner? Potentially. In the span of a few years will it prevail normally, maybe. Though the accursed reaction to a boner is quite negative, so maybe it’s good to get it out in the open instead of hiding it behind some garment. 

Wearing clothes seems to originate as a function of safety. Wearing clothes to prevent disease or death. Fur coverings would protect from the cold. Ironically in the same breath moving to warmer climates humanity began shedding its hair to a halt. Then during the dispersion to colder climates they had to adapt with animal fur for survival. In the evolutionary regard, we are the naked of the animals. Our clothing covers our bare exposed skin. Sunburns and tans alter the skin tone either to a darker shade or a red stain. Yet humans are not the only hairless mammals, elephants and rhinos also fit this display. The same evolutionary argument can be made between mammoths and their elephant descendants. Whether Africa was cold before the ice age or the only habitable place during the ice age, humans in Africa didn’t need their fur no longer. Romans really held to the hairless phenomenon. While clothed, they saw contrary to the germanic barbarians poise and posture to be manly. A demonstration of human excellence. With less hair and sweat glans the brain enlarged. Oh for the evolved beast to demonstrate his distinction with dress. He is no longer a beast but a man. 

Recent studies believe clothes began before migration. A way of modesty in the hairless adaption of the mind may have proposed a need for covering up. Self reflection and social interactions necessitated a charming veil. Fitting beautifully with Adam and Eve. Mythologically displaying the human attainment of knowledge. While hairlessness depicted Adam’s intuitive division of animals, only after eating from the tree does he recognise his nakedness. His mind enlarged and interacting naked erotic. Banished from Eden he must migrate fulfilling the command of conquering and settling the land. Forced to fend for themselves amidst the droughts and impending starvation. Dress symbolised higher knowledge, distinct from animals. A mode of higher being. Cain’s wandering may also resemble the migration until he settles and builds a city. Whether the biblical stories align with historical lineage is debatable but the mythos is clearly teaching a shared memory of humanity’s early development. Clothes mark a new force of human experience. A way of survival in the colder areas but even prior in the hot African sun, found intelligence to reconcile nakedness as immodest and needing concealment. 

Unlike the greek myth nudity wasn’t as common as it is was prior to the invention of clothing. Humans were hairless for a time prior to their boosted intelligence sparking a veiling revolution. Whatever the reason, social or hunting, clothing became a necessary barometer of success. For sexual mating or for body armour. Both may be the cause but clothing across the board measured the success of human proliferation. While clothing was necessary for hunting and protection, in warm climates, the frequency seems to side on the social enterprise. For status or for seduction. Materials means wealth which means production and superiority. Clothing symbolising status eases interest for seduction and procreation. To what degree people cover up is debated. Meaning wearing a gold chain and gold watch in a birthday suit may only cover the neck but it does demonstrate one’s wealth. Though the principled manner in which one carries themselves is more than just gold. Dressed up portrays an enlightened individual. Man has evolved from a beast. He no longer looks or hunts like a beast. He dresses to differentiate and place himself above. 

Seeing a well dressed man is synonymous with solicited looks. For females, a man well dressed placates his own arrogance. In the human evolution, the more dress the more financed the more capable. As humans drifted to colder areas, clothes were even higher demand. Only those with the means could afford to keep themselves warm. In hotter climates, clothes still remained particularly necessary. Just because clothes weren’t necessary, did not mean that they were worthless. Societally, the presence of clothes showed that even in this warm climate, it is still well regarded. Today, suits are worn in nice areas despite the sweat that accompanies the wealthy wearer. Slaves wore nothing, though out of modesty they may have had a tunic but usually was ragged. As clothes became more common, the design became a model of status. Only those with the unique brands. Wearing a tattered shirt meant poverty. Ironically, girls who wear ripped jeans are a style that is more expensive than whole jeans. A girl who rips her jeans is poor, a girl who buys pre-ripped jeans is rich. It is just how society operates. It is not necessarily about how much something covers insofar as it is socially incumbent. Wearing a wig or a hat is out of style but fifty years ago it was appalling to not wear one in public. 

Ancient Greece for all its nudity was selective about its use. In gymnasiums during sport but not along the road. Even if it was for men, it sure wasn’t for women. Greeks took dress seriously. Shaving themselves to the ideal physique. While greek art may present nudity in all forms of activity, it doesn’t necessarily translate to actual everyday life. It may have appealed as an ideal to the artists. Greek soldiers probably fought with armour instead of naked bodies as depicted in art. Realistically, nakedness is dangerous and armour protects those areas. Craftsmen weren’t stupid enough to handle dangerous conditions naked. Smartly enough covering themselves to prevent injury. Summarised that Athens was not a nudist colony, quite the contrary. Nudity in sports as well as rituals either idealised the archetypical expression or exposed the bare to the easiest form. In rituals its purity and in sport its mobility. Both examples demonstrate nude behaviour but for specific situations. Next exercise workout solely in underwear the freedom is massive compared to the extra layers worn. The gym demands a dress code but at home in the confines of the home, bare is the best to strengthen. The hedonistic side has its context modified and mitigated in the grande scheme.  

Greek cults did perform sexual rituals. Some ended with child burnings and others with priestly castration. The hellenisation of Rome added some nuance to these rituals. While in public nudity was rare, private occult groups found their calling in violent practices in the nude. Emperors and wealthy royals held sexual parties. The sexual promiscuity did meet on more lively matters with wine and music but was relished for the moneymakers. For those with status to cleave onto their desires. With mysticism stretching its yoke in antinomian terms. Shed the yoke of the legal chains that bound the peasant. Stand up against the oppressors. Their roles are drowning your freedom. Sabbateanism had a sexually deviant side and strong celibate side. Taking the mysticism of Kabbalah to an unhealthy promiscuous level. Modern cults who hail magical elements involve in orgies. Each of these while breaking the norms of religious fraternising are secretly executed. A deified brothel in the religious circle. Finding liberation and at times crewed manipulation to exploit sexual infidelity and restrictions.     

Naturism otherwise known as nudism began in the late ninetieth century. With the enlightenment in full swing and religious norms cracking, German scholars promoted the first journey of nudism in 1902 with a club opening in Hamburg the following year. By the end of WWI it was quite frequent in Western Europe even becoming an international federation in 1951. Due to pressure of rouges undressing in the street, clubs were appointed post WWII for designation. Undressing was allowed just in certain areas. Apparently some people couldn’t let go of religious dogma. Though ironically membership has dropped. Seeing naked old people is not a fine sight for many youngsters. Scandinavia is a sight for nudity in saunas and beaches but publicly its not so different from other European countries. In the past thirty years public nudity has become more legal but not necessarily acceptable. There seems to be a stronger liberal chain to permit than the general public actually wishes. While art has always canvased erotica citizens themselves held themselves to a formal dress code. 

Though the naturism is a step ahead of the free the nipple ideals. Bare-breasted is only half nude. Certain native societies were bare chested while others exposed boobs. To some extent, there is a utilitarian motive. Potentially covering boobs was to prevent chaffing when strapping a baby on the back. To preserve the function to nurse her babies. Convenience may have gradually determined dogma. The bra was invented by a woman for her own comfort. A combination of possibilities demonstrates the variables that led to dressed women. Men wandering shirtless wasn’t too fond in western culture until recently. Certain climates were better for toplessness. Cold climates would wish to cover up the easily prone boobs. It is not clear that is specific religious dogma or mythological poems that orchestrated coercive concealment. It may have bolstered or elongated dress but not the root of covering up. Hair covering may have originally been about placing hair together to keep it out of the eyes, placing it in a ponytail so you can do the dishes easier. Covering up was practical that over time added a spiritual layer and later a legal dogmatic part. Given the lack of pictures and seemingly playing to art which at times was idealised even Egyptian culture was debatably nude. Then again Egypt was warm and Greece could get cold in the winter. 

Toplessness in western culture elevate the libido. In topless cultures they are used to it. The erotica is from the fancy added whether that be jewellery or makeup. In this regard, nudity and sexuality are not always mirrored. The complacency with the naked female body finds erotica with added layers. With varied positioning. For westerners who have clothed themselves publicly see nudity in its erotica. The difference in erotic art today than medieval is striking. It is the consistency that prevails. Consistency lowers erotic dimension. It is the constant coverup that leads to bikinis being a sore sight for horn dogs. The simple unveiling of an ankle to a kneecap only frightens the erotica more. This happens on both sides. Dress is conduct but it also hides the sexual feelings. There is a certain stare for the revealing of inch by inch. It is the lack of realism or more fantastical idealism. The objectification happens on both sides of the aisle. There are fetishistic and voyeuristic attempts to undermine the promiscuity of nudity. The taboo only exists insofar as it is covered. Once unveiled, once normalised it is no longer erotic. It is no longer objectified in the same way. To some extent it is chilling. There is a sanctity and intimate linkage to the body. Covering is not so much status insofar as it has developed its spiritual prowess.

Nudist colonies are able to manoeuvre without boned arousal. There is a freedom to sexual impunity but it is also the desacralisation of sexuality. The nudist areas are desensitised to sexual appearance. It isn’t perfect of course but in time seeing the body up close and personal doesn’t arouse the same emotions. Guys will get erections but it needlessly is a part of their biology. Covering up is a quick way to void the embarrassment. The erection indicates that you have yet to overcome the objectification and arousal period. Just some more time. Patience is key and respecting time is the nudist way. Using a towel though ousts the personal perpetrator is consoled in his own journey from failure to success. A lacking sexual interpersonal relation is bolstered. No longer is objectification the mainstay of human activity. Conversations see beyond the peril eyesores A traumatic concern with the nude is a portrayal of insolence and insecurity. A subconscious interpretation of bodily expression. One that is sensitised to sacred purity. Naturism is an acceptance of the social product. A gradual transition to “subjectification”. Focusing more on the encounter than the person’s ability.

The one reservation is if the relational attitude becomes more surfaced. If right now we focus on face. Now we can do so by all deciding which figures look the best plain. Then again, desensitised to the beauty is a method of overcoming the     dogmatic barrier so inherent in the physicalisation of others. Those dimensions are not aspired. The naked is only desired with clothes covered. Libido may be present, emotions will swirl but the attraction will extend beyond traditional norms. Beauty becomes less tangible. The anthropological aspect of sexualisation is the desire. It is that which is not seen. That which is made taboo concealed behind a veil. Once that veil is released emotions mobilise. The striptease is the quintessential depiction of this event. Undressing in motion is more sexual than the nude. The performance of reducing clothing is gradually accepting the taboo. Just as a story slowly brings the plot to the climax for the awe sensation, so does the movement of undress. It is not to appear naked but to reach the finality of nude. To some degree it isn’t even the nude but realising the nakedness unveiling in plain sight. A more solicited yet stingy sensation in the hormonal magnification. 

Does this mean that content beats colour or that internal beats external? Will people finally see what is inside over what is outside? At first for sure not. People will be overwhelmed with the bodily imagery. Whose dick is bigger, whose boobs are nicer. The objectification is the first realisation but in plain sight the pornographic visual will be diluted with speculative nonsense. Real life boobs beat videotaped boobs. It is then the urge to stare without touching. To enjoy the sight without copping a feel. The stimulation is flaunted in normative routine. Boobs will be awesome and will always be awesome but they won’t be as centred after some time. Seeing boobs all day will minimise their importance. Going about everyday in the nude in passing glancing at the female bosom. People will still judge the appearance. This is not a solution to personality over looks. Attraction still matters but it may matter a little less. Though it will also open those to strive to look better or for those not to care. In whatever direction society shifts. It would seem that if the visual nude is projected consistently its urgency will fade. It is only due to the secret, the taboo and the potential that musters so much mystery and desire. 

Clothing has its necessity. Protection status and honour. In a way, naturism removes those status symbols. Equality is truly impending. Without all the designer dress and coverup insecurities is the bare minimum human creation. Was Adam’s sin ingratitude? Was Eve’s sin insecurity? Their nakedness an embarrassment from of their ineptitude. It the realisation of their sin, profound knowledge and thus shame from nakedness. Was there need to be ashamed? Did Adam and Eve invent shamed nudity? To some degree the more figurative explanation of caught redhanded is a far superior model. Attempting to cover up their sin with garments. Changing who they to desist from the sin but no matter how they dress, they can’t outrun the sin. The original Hebrew uses the word “arum” as cunning and naked. The cunning desire that was compelled now became part of nature. The shame came from the unsolicited desire. Knowledge does not mean purely intellectual understanding but the negative desire for urgency. The shame encountered required covering to delineate the objectification that was pronounced with the new intellect feeling superior with status. The skin garments were better than the loincloth since the skin would protect them in their migrations. Life outside needed innovative clothing. Covering nether regions needed more nuance and more emphasis. There is a mystical reading that seeks to return to this edenic paradise. To be nude vegetarians is the highest goal of man. Reversing Adam’s sin and becoming pre-sin Adam. 

Modesty even in the biblical books is about actions than dress. It is only in the hellenistic ruin that modified dress becomes a pillar of necessity. Customs emerge demanding the sexes cover certain parts of their body. Body parts become unclean to see by the naked eye. A strong mystical front seeks to purify by abstaining in hyper-dressy nature. Modesty becomes intertwined with dress. Through the Middle Ages such debates and dilemmas have questioned the nature of modesty. Dress has become a cardinal element of presentation. A status symbol as well as an identification symbol. Though ironically, while Jews were forced to wear yellow stars even nude they would be singled out. The abrahamic circumcision indefinitely will guide the familial element. Even in the nudist world there can be factions. Sexualisation may be down a peg but that does not delete colour or culture. A liberating feeling but not one that necessarily breeches the barriers of hate. Though a start would refocus modest on character than clothing. Every era presupposes its clothing norms. How to dress and where to dress. Revoke the institutional claims for the nudist foundation. Not entirely a blank slate given the physicalisation. Even in Rick and Morty nipple shapes determined groups so too cup size may. 

Free the nipple is a motion of relaxation. It has its perks but does it solve everything no. Is that the point? No. Clothing is overrated but we are ashamed of nudity. We wish to hide our figure. Maintaining a distance and mystery concerning it. Birthday suits are honest reflections of he self. It is not bold it is straightforward. More boobs in sight will discount the sexualised features but it also may divide into big boobs and small boobs. Growers and showers. Hypothetical but reasonable. While nudity feels free in the moment of excess from constant wear does a constructive nudity, a generational nudity feel the same way. Liberation only feels truly liberating when shackled to a norm for so long. Breaking free of the curse is a victory but growing up with the new norm has no liberating cause and sees the nude as a model of life. Little objectification but much bullying on behalf of grandiose figures.