Female body, seduces men
women’s sexy body seduces men
It’s not just cigarettes, morphine and alcohol alone, the sexiness of a woman’s body can actually be addictive to women, a new study proves.
According to a study in the United States, seeing a woman with a plump body can activate the part of the male brain associated with feelings of appreciation.
The effect is the same as when a person drinks alcoholic beverages or takes drugs. This is the answer why body shapes like Jennifer Lopez and Beyonce Knowles are considered sexually attractive by men.
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In their research, scientists from Georgia Gwinnett College showed seven photos of women’s hips to 14 men, an average of 25 years old, who were respondents.
They then showed a photo of the same woman after having plastic surgery to transfer fat from the waist to their buttocks without changing their overall weight.
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From the results of brain scans conducted on male respondents, it was revealed that when they saw photos of women who had gone through the surgery process, the parts of the male brains associated with rewards were activated, including the areas that also responded when someone consumed alcohol and drugs.
Through the scanning device it was found that when looking at these men looking at a photo of a woman’s waist who had surgery, the part of the brain that was activated was the part that also responded when someone drank alcohol and drugs.
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It is not too surprising how much human evolution has now made the attractive female body addictive.
Reported by msnbc, Steven Platek, a neuroscientist who studies cognitive evolution at Georgia Gwinnett College, Lawrenceville, Georgia, explains that this research can help us understand the link between pornography addiction and similar disorders.
“These findings could help us understand more about addiction to pornography and other related disorders, such as erectile dysfunction when pornography is not assisted,” Platek said.
Mr Platek, who detailed his findings in the journal Plos One, also said this may be evidence that women’s beauty judgments of body fat are simply due to societal rules and not a problem with brain disorders.
“These findings can also be used for scientific investigations into sexual infidelity,” he said.
It is hoped that further research will explain the effects of this sexy female body on women’s brains.
“It is suspected that women also consider the hourglass shape as attractive as the way men perceive this object. However, in women, it is interpreted differently,” explained Platek.
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Women see other attractive forms of women as an attempt to measure the sexiness of their own bodies. It is a kind of system in a woman’s mind to keep men attracted to her.
The body has always been the object of power in anatomical-metaphysical and technical-political terms. The body is manipulated, trained, corrected to become obedient, responsible, skilled, and increase in strength, says Michel Foucault in his work Body Discipline: Modern Individual Workshop. The body is indeed the most ancient entity, the body comes with human life starting, the body becomes the soul’s medium for the attainment of its existence, the body becomes a discourse that is constantly on the reproduction of meaning and response to its existence, the body holds a number of mysteries of understanding about itself, and therefore the body is indeed attractive. in tracing the essence. In a partitioned culture or martyrdom, women and their bodies occupy a special position in the theater of social life. Women and their bodies are considered to be the most present in social theaters that show aesthetics (beauty) rather than men’s bodies. Women, God’s sexiest creatures, as in the song lyrics of Mulan Jamela, at least affirm and emphasize the beauty of women’s bodies.
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As something that is considered beautiful, women’s bodies can never be separated from the theater of social life. The female body and social theater meet and reproduce discourses of beauty. This can be proven by the history of the female body and the value of its beauty in every human civilization in any part of the world, whether in patriarchal or martyrdom culture. However, the question is whether the aesthetic of the female body is present as a natural one that is already beautiful in itself and is an innate perception or is it just a construction of reality in the form of knowledge internalized in the minds of women and visual connoisseurs of the female body which gradually becomes a habit ( values that are lived) are then regenerated continuously?
Aesthetics can be interpreted as a philosophy regarding the nature and perception of the beauty experienced by the subject towards a work of art, be it a natural object of art (natural object) or from a human creation (artificial object). When appreciating the beauty of a subject, there is always a feeling of interest (sympathy) followed by the desire to own and enjoy that beauty more than just a visual gaze. Fulfilling a sense of the beauty of the body will certainly involve touch more than just a gaze. This can be read as the will power / conquest instinct in Nietzsche’s conception. In the essentialist view of the body, we believe that the body was created by God as primus interpares. So that the body is categorized into the beauty of natural art. If the issue of beauty is defined as the subjective will of the actor, then the body types of men and women are judged subjectively by the audience as beautiful or not. Consequently, beauty does not exist only between men and women, but between the same sex; a man is attracted to the beauty of the male body and a woman is attracted to the beauty of the body of his fellow woman without certain normative boundaries.
A father can be attracted to the beauty of the body of his son or daughter, a boy can be attracted to the beauty of the body of his mother, a daughter can be attracted to the beauty of his sister, a boy can be attracted to the beauty of his sister’s body. This can be contrasted with beauty as a social consensus, so it is clear that beauty becomes a normative entity that directs the direction and application of a sense of beauty to certain types of body sex and the criteria for the quality of its beauty. There are social constructs of reality that limit the sense of direction and application of a sense of beauty to the body. Boys are prohibited from having a beautiful sense of the body of their mother or sister, fathers are prohibited from enjoying the visual beauty of the body of their daughter or brother-in-law, but it is only natural for boys to enjoy the visual beauty of female friends / friends.
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In connection with the two points of view above, the question arises. Is beauty purely an instinctive subject or is it an instinctive subject that is accommodated by normative boundaries as a social consensus? The first perspective sees beauty as something that comes from within the subject without being conditioned by certain normative limitations. That is, the beauty of certain bodies does not exist in themselves but is the result of the perception of the subject independently. In the Cartesian perspective that deifies the ratio in the motto “cogito ergo sum”, the perception of the beauty of the body becomes a pure domain as the result of the subject’s thoughts without being distorted by external reality entities. It is as if the mind becomes an innate ability of the subject without the need for a social learning process. In the historical traces of ancient Greece, the ritual worship of the gods of Greek mythology is celebrated by enjoying the beauty of the bodies through the practice of sexual intercourse as the peak of the enjoyment of the bodies. Even a body in clothes is considered a social pathology because it does not value beauty. This was done long before the presence of the dark ages (The Dark Age) in the 19th century which was present to repress bodies according to the dogmatic interpretations of religion and the victorian (bourgeoisie).
To quote Foucault in the work Sex and Power: “In the 17th century, it was said that certain openness still prevailed. Sexual activity (body) is not covered up. Sexual words are uttered without hesitation, and things related to sex are not disguised. At that time what was haram was considered halal. The measure of vulgar, slovenly, immodest behavior is very loose, when compared to the 19th century. We can find various things that lead to it, plain words, blatant violations of norms, exposed genitalia, naked children passing by without shame or causing adult reactions: bodies, at that time drowning. in the preoccupation … but the openness which is like the daytime is soon followed by dusk, until the monotonous nights of the victorian bourgeoisie … the uniqueness of modern society is not that
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If the body and beauty are the tools of the constructed knowledge discourse, the aesthetics of the female body is built on the knowledge discourse that controls the quality of beauty in the perceptions of the actors. The beauty in the female body is different from the beauty in the male body. The distinctive beauty of the female body contains a unique aesthetic taste. Often what is worn on women is associated with beauty. Likewise, theater, which is part of the arts, cannot be separated from aesthetic elements. This similarity has brought together women and theater as a medium for representation that creates a sense of beauty. In theater, the female body becomes a symbol that refers to a reference to the image (idea) of beauty. This beauty cannot be read in terms of the semiotic paradigm (Pierce, Saussure, Barthes, and others) because beauty itself blends with the appearance of the body itself. For example: we see a glass as being present with a certain shape, a certain quality of color, with a certain quality of density, and a certain quality of weight, without pretending to see other meanings behind the glass, such as: modernity, capitalism, and so on.
Likewise, the beauty of a woman’s body is perceived as beautiful from the arrangement of its visual appearance without trying to explore other meanings behind the woman’s body itself. The beauty of the female body is not a reference / reference from the body itself, but it becomes a taste that is obtained directly by the individual who perceives it. The female body is beauty, not referring to another meaning entity. There are many criteria in perceiving the female body as something beautiful and it is clear that it is neither purely instinctive nor pure ratio nor purely emotional nor pure experience or even purely a mental process, but rather a mixture of all mental and physiological aspects of the individual. In this case, Sarte’s thesis about the presence (existence) of human existence precedes its essence (essence / ideal) must be interpreted carefully. For women as subjects who own their bodies, the existence of their bodies must first be realized before touching its essence. The existence of human women (in the union of body and soul) of course must exist (be born) before the woman herself makes a deeper meaning of her body.
Without our bodies it is impossible to understand our bodies and without our souls, it is impossible to recognize our bodies because our bodies are dead. Body and soul are dualities that mutually establish and reinforce our identity as human beings, even though they do not yet guarantee aspects of our humanity. On the other hand, if we view the female body as an object that belongs to someone else, then existence and essence are flexible. That is, we can view the body as being in the senses and then abstract about its essence or we can acquire knowledge that describes the female body without us having to perceive the body. For example: if we only saw a woman’s body and we would be able to abstract about how to interpret the essence of that body or if a baby who was raised from a child has never seen a body whose name is a woman, but he can still abstract with the socialization and internalization of knowledge so that he can imagine how the figure of a woman’s body in his mind.
As a construction, the beauty of the female body basically still departs from the discourse of knowledge. Even though the knowledge is socialized and internalized in infants, it still departs from knowledge as a result of “bodily perception” in Ponty’s view. In dealing with the conflict between idealism and empiricism in terms of knowledge, Ponty’s thesis is considered quite good in solving how knowledge is produced and reproduced, including knowledge about the beauty of the female body. If it is assumed that beauty is subjective, then each individual has a distinctive sense of beauty in perceiving women’s bodies as aesthetically pleasing. The criteria in perceiving the beauty of a woman’s body are unique to the subject. Meanwhile, the assumption of the beauty of the female body as an objective perception, the criteria used are objective.
