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Animated Funny Pictures Biography

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Schopenhauer appears to have helped shape and influence a number of "aesthetic-attitude" theories. Edward Bullough advances one such theory (Levich 1963: 233-254). His "psychical-distance" theory introduces the concept of psychical distance by displaying the experience of enjoying a natural phenomenon. He invites us to consider how enjoyable certain aspects of a fog at sea can be despite its potential danger. He writes: Distance is produced in the first instance by putting the phenomenon, so to speak, out of gear with our practical, actual self; by allowing it to stand outside the context of our personal needs and ends - in short, by looking at it "objectively," as has often been called by permitting only such reaction on our part as emphasise the "objective" features of the experience (Levich 1963:235). "Distance", for Bullough, is a psychological state that can be achieved and can be lost. One can experience "under-distancing" and one can experience "over-distancing".

The female nude as she appears in high art is at the edge, resides between these two phenomenon. Because of the way in which she is framed, she has the potential to encourage her viewer to over-distance. Yet, due to her eroticism, she pushes the viewer towards under-distancing. On the one hand, she is represented in such a way as to allow for the aesthetic connoisseur to examine the skill with which she is designed and displayed. On the other, she is naked which renders her outside the proper sphere of artistic appreciation. After all, the naked female body is obscene and can easily entice the viewer away from a position of aesthetic appreciation and distance. The female nude in high art, because of these competing properties, allows for "proper" distance. Derrida refers to the female nude as the "paregon", the border between art and obscenity (1987: 45). The female nude, he suggests, is unsuitable subject matter for artistic pursuit. However, pictorial form and artistic style, subdues the erotic potential of the naked representation. The female nude as she is represented in high art then, is rendered legitimate by rules, restrictions and direction.

The opposition of a serene, contemplative pleasure and a form of unruly, sexual indulgence maps tightly onto the art/obscenity opposition. In high art, experiences are limited to static reflections and these experiences separate art from non-art. Art is separate from pornography due to its intellectual, reflective and contemplative nature. Pornography is bodily, immediate and does not allow for proper distancing. This axiom can be located in Lord Longford's Report on pornography. Kenneth Clark, acting as an expert witness to Lord Longford's committee stated: To my mind art exists in the real of contemplation, and is bound by some sort of imaginative transposition. The moment art becomes an incentive to action it loses its true character. . . . In a picture like Corregio's "Danae" the sexual feelings have been transformed, and although we undoubtedly enjoy it all the more because of its sensuality, we are still in the real of contemplation (1972: 99-100).

In high art, the effects of the female nude on the viewer have determined whether works involving female nakedness are art or non-art, whether they are art or pornography. Art involves the sublimation or transformation of sexual urges and tendencies; however, pornography encourages sexual responsiveness and immediacy. The aesthetic experience is calm, contemplative and reflective, the pornographic experience is urgent and bodily.

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