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Your purchase helps support NPR programming. Others never make eye contact. I remember one sitter who took her clothes off item by item and sat glowering at us from her bar stool for a full hour. I’m wondering, when my time comes, what I will do. How I will expose my average, totally naked, 4. How would you? My fellow sitter has just left the platform. NudeChat is the adult alternative for Chatroulette, Omegle, Camzap, Stickam, and Tinychat. Nude Chat is the Chat Roulette, Omegle, and Camzap of sex chat!Young, bearded and heavily tattooed, he high fives all the artists on leaving and does not strike me as naturally bashful. I apply some translucent powder – about the only thing I’ll be wearing for the next 3. It does nothing to cover the vivid blush spreading from my cheeks to what used to be my cleavage when I wore clothes to hold it together. Now I walk into the studio in front of eight men and two women, say hello and drop my shirt in a rather apologetic way. I am part of illustrator Mike Perry’s global pop- up experiment: his appeal to the public to . In cities around the world, he gathers together the artists and illustrators he admires and stages events asking members of the public, via social media, to pose for them.“It started in 2. I wanted to get back into life drawing but I didn’t have the patience to sign up to a regular class,” says Perry. We should all get naked with a bunch of strangers sometimes to see who we really are. A Thousand Naked Strangers: A Paramedic's Wild Ride to the Edge and Back - Kindle edition by Kevin Hazzard. Download it once and read it on your Kindle device, PC. We did it as a one- night pop- up and put the word out through Twitter. We honestly didn’t expect anyone to come. But the response was awesome. And the drawings were so exciting, much more so than with a model.”The project has had an enthusiastic response, with volunteers for events in New York, Amsterdam and London. Sitters have included a couple on their first date, a sleep- deprived mother of two, tourists on a stag do and a girl who had been advised by her therapist to come along to get over a pubic hair phobia.“You get all sorts. ![]() You get the person who doesn’t care at all, you get those in the middle ground – . And then you get the ones who are incredibly, excrutiatingly uncomfortable and are almost trying to prove something to themselves ? American exhibitionism? A normalising of nudity in the Netherlands? And he’s not talking about a fashion for beards. Skin deep. The audience’s beard count is high at this evening’s version of Get Nude. ![]() Get Drawn hosted by It’s Nice That’s Printed Pages. I sit, unsure and naked, in an open- plan East London studio with white curtains for modesty. The people around me are drawing on pieces of A4 coloured paper in pen and ink and, when I adopt certain poses, I can see exactly what they are doing. In one sketch my belly is bigger than my boobs. I lock my gaze onto the pot plant. I tell myself I can do this thing. I’ve been on the other side of the easel for more than 2. I know that where I’m standing is hallowed ground. A life drawing discipline is non- judgemental; no body fascism here. The droop of a breast, the swell of a stomach – these are all friends to the artist. Think the dimpled flesh in the paintings of Lucian Freud or Jenny Saville. The best life models I’ve ever drawn didn’t have the honed bodies of dancers; they were the ordinary ones with their ordinary details – the bite of a bra strap, fallen arches from years of bad shoes – this is what I love to draw. I strike a pose which I hope is interesting while revealing absolutely nothing. I have stopped breathing. I notice that my stomach is clenched. Mike offers some direction and mutely I obey. At one stage I worry that a particular artist is bored. I realise that, although there is no judgement in the field, I have brought my own – 4. British shame. I try an experiment. Six minutes after the session begins, in a collapsed standing pose – head lolling down, legs crossed – I decide to look at my naked body with a simple curiosity. I notice the contours of my body – a set of interlocking shapes – and the different tones of my skin. It is interesting, nothing more. But my breathing relaxes. I notice that there’s music playing. I raise my gaze from the pot plant to one of the artists and slowly, tentatively, begin to take my space. The naked truth. There are unwritten social contracts as to how we – women in particular – should get attention. To ask for it too directly is considered gauche. The idea of not being seen, painful. Instead, I have used a range of secondary manipulations: be clever, be funny, be coy; cleavage, heels, seduction. To suspend all of this, even for 3. To stand in my vital and imperfect, ageing and alive body and be witnessed by strangers feels liberating. It’s the ultimate no make- up selfie. A drawing of Tanis by Will Edmonds. No longer do I feel demure and distant, I feel totally involved – inviting, curious and challenging. The experience is not erotic. I can feel the attention of the artists on me now: their eyes on my body and their pens scratching furiously, trying to express the bends and grooves of my curves, and I feel almost architectural. Once the session is over, I pull on my shirt and with it all of the social conventions (and sexual tensions), eclipsed for the last half an hour. But in the following weeks, subtle effects remain. Taking the spotlight – suffering the scrutiny until I began to feel its warmth – felt like a direct and honest way to receive attention; something I can practice, with my clothes on, in my life. Much has been written about the therapeutic effects of being witnessed by a non- judgemental other. Artists like Ellen Fisher Turk use nude photography with women to challenge the historic views we might hold of our own bodies, encouraging subjects to write journals about their images. I buy a small picture of myself from the exhibition. It doesn’t look like me but it captures something that resonates. Artists are always, really, drawing themselves even when they are drawing someone else. Lucian Freud talked about the model serving “the very private function for the painter of providing the starting point for his excitement”. I would argue that that excitement works both ways; that the act of being seen rather than watched is in itself remedial. I would thoroughly recommend it. If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter. The Praise Paradox Are we smothering kids in kind words? By Po Bronson and Ashley Merryman. 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We revolutionised the market back in 2002 with a range of. Paradox: A Gestalt Theory of Changeby Herb Stevenson. Underlying the application of Gestalt theory to organization development, consulting, and/or coaching is an approach that Arnold Biesser, M. D., characterized in 1. This theory, which has become the foundation of practice at the Gestalt Institute of Cleveland, flows from the primary premise that meaning manifests through the differentiation, dissolution and integration- -- a form of absorption- -- of polarities. This article provides an understanding of the theoretical concepts that underpin Gestalt theory as it relates to polarity, paradox and dilemma. Types of Polarities. As form of background to this article, it needs to be noted that at the Gestalt Institute of Cleveland, we acknowledge the importance of the following four types of meaning- making polarities. What all polarities have in common is that they can be experienced as ambivalence. Within the ambivalence is a dimension of “want” combined with a counter dimension of “not.” In Gestalt, there are three different versions of the ambivalence, which eventually is resolved. Definitional opposites polarities. There is historical wisdom behind the reality that opposites sometimes define each other in an interdependent way. For example, we understand darkness as a contrast to light. One helps us understand the other. These definitional opposites depend on each other like the two sides of a coin. Thus they are called “interdependent.” Good and Evil are another example. With these definitional opposite polarities, where one pole gives definition to the other, the poles come as a pair. Because the definition of one is, in part, dependent on the definition of the other, you can’t just choose one and neglect the other as you can with either/or polarities mentioned above. Though they define each other, these definitional opposite polarities represent only part of the content of the third type of polarities (both/and). They also often appear to represent a choice in which choosing one represents moving away from the other on a single line continuum. For example, many people see good and evil on a single line continuum in which one is expected to move toward good and away from evil. Though good and evil help define each other, in the process of dealing with choice ambivalence, we are encouraged to choose the “good” over the “evil.”Both/And Polarities. These polarities are different than the two described above. Polarity Management is about distinguishing when you have a “both/and polarity” and then understanding how to tap it as a resource for yourself and others. What distinguishes a both/and polarity from the other two is that there is and ongoing oscillation between the two poles which is unavoidable, unsolvable, and indestructible. The relationship between the poles is in dynamic tension over time. When a person or organization experiences ambivalence between the two poles of a both/and polarity they will not be served well by seeing it as either of the other two types of polarities. This is why I think it is important to make a distinction between the 3 types of polarities rather than treat them all as “indistinguishable, generic polarities.” If the ambivalence being experienced is essentially around a both/and polarity and it is treated as an “either/or polarity; ” a “definitional opposites polarity; ” or an “indistinguishable generic polarity,” the person will not be as effective an intervener as they would be if they knew the difference and could intervene accordingly. Dissolved Polarities or Differences. Building on Johnson’s three forms of polarities, the dissolved polarity or perceptually dissolved differences can emerge. This is the naturally forming transition of the differences, the deepening meaning making process, and the energetic tension resulting in a new awareness or an emerging structure that was not perceptually possible until that particular moment. All four of these will be further discussed in the following paragraphs which review the evolution of the paradoxical theory of change, the core of gestalt theory. Polar Differentiation and Creative Indifference. In 1. 91. 8, Salomo Friedlaender developed the concepts of polar differentiation and creative indifference. According to Friedlaender, “for a phenomenon to be perceptible and appreciable, it must stand for an opposite of something else; it must be different from some other thing. Every decision we make, our every action, our every word is based on the construction, conscious or unconscious, of boundaries. To make a decision means to draw a boundary line between what to choose and what not to choose. To desire something means to draw a boundary line between pleasurable and unpleasurable things and then move toward the former” (p. An either/or polarity.“Every boundary line is a potential battle line, so that just to draw a boundary is to prepare oneself for conflict. Specifically, the agonizing fight of life against death, pleasure against pain, good against evil. To destroy the negative is, at the same time, to destroy all possibility of enjoying the positive. The root of the whole difficulty is our tendency to view the opposites as irreconcilable, as totally set apart and divorced from one another.“While it is true that buying and selling are in some sense different. In other words, buying and selling are simply two ends of one event, namely, a business transaction. In just the same way, all opposites share an implicit identity. That is, however vividly the differences between these opposites may strike us, they nevertheless remain completely inseparable and mutually interdependent, and for the simple reason that one could not exist without the other” (p. This is what is meant by polar differentiation: seeing options on the continuum between poles. Because the pairs of opposites (polarities) are actually extremes on the same continuum of possibilities, the nearer one gets to the mid- point of the continuum, the more difficult it is to differentiate one pole from another. Friedlaender calls this midpoint the point of . It is at this point – the point at which the full continuum of possibilities is fully known - - that creativity becomes possible and where the polarity dissolves or, if you prefer, transforms into a higher order of understanding. Friedlaender's “creative indifference. Friedlaender’s goal, as Perls saw it, was the achievement of this lovely neutrality in which one no longer feels pulled toward one extreme or the other and is no longer the prisoner of one way of seeing the world, which inevitably blinds one to other possibilities. Creative indifference counteracts the human tendency to prefer one pole over its opposite, a definitional and a both/and polarity. For example, to under stand order, we must also, understand in some form chaos, a definitional polarity. If we see chaos as threatening, we will tend to seek order, thereby trying to create an either/or tension from an both/and polarity. But as chaos theory, complex adaptive systems theory and complexity science point out, seeking order (conformity) to the exclusion of chaos (disagreement) can lead to the destruction or mediocre functioning of a system. When we are able to see chaos and order not as enemies, but instead as polarities on a continuum of choices, we are free to move in either direction or envelope both options to something higher, thereby by embracing or dissolving the differences such as the polarity of buying and selling is to create a transaction. This unleashes creative energy and creates fresh possibilities. The polarity becomes a new holon, encompassing both poles in their fullness and their wholeness beyond the polarity. In this way, the usual meaning- making process of polar differentiation is set aside in a state of pure being, through a deliberate act of polarindifferentiation. The closer we come to simply being, the more we open a space (fertile void) in which fresh possibilities can arise. Poles such as rage and gentleness . It is possible to achieve this perspective by being . By avoiding a one- sided outlook, . Perls applied this concept to psychological processes, whereby the individual is perceived to be more than simply the sum of his or her experiences, just as an organization is perceived to be more than the sum of the individuals within it. There is at once a reciprocal and deterministic relationship between the whole and the parts, and (as is true with any polarity) one cannot be fully understood without the other. Wilber (1. 99. 6) extended the concept of holism with his discussion of . As Wilber explains, a holon is . For example, letters are parts of words, and words are parts of sentences. Each level consists of entities that are wholes in themselves (e. Gestalt holism is rooted in the concept that an individual's search for meaning cannot be reduced to the sum of his or her experiences; the individual must be considered within the larger reality of which he is a part. The importance of this concept deepens when we understand that, in an intervention, the Gestaltist (one holon) joins with the client (a second holon – either an individual or a group/system) to create a third holon that is more than and different from the sum of its parts. The Gestalt intervener therefore needs to be aware of the wholeness of each part, the dynamic relationships between the parts, the whole (higher- level) entity that they form together, and the interdependence among the parts and the whole. Figure/Ground – the original polarity. The core Gestalt concept of figure/ground enables us to see how we perceive and organize experiences. The figure is a focus of interest—an object, a pattern or a behavior—that emerges from the ground (the environment or context). As the figure emerges and becomes clear, it acquires meaning for the individual or group. 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