Pranks, Obscene Chatters, and Ambiguous Content: Exploring the Identification and Navigation of Inappropriate Messages to a Web-Based Sexual Assault Hotline.

Sexual assault crisis hotlines provide crucial support for survivors. Though some hotline users engage in inappropriate conduct (e.g. prank or obscene calls), few studies explore these interactions. To address the lack of literature exploring inappropriate hotline interactions, we conducted a secondary data analysis of chat transcripts (n = 233) shared with the research team as part of the formative evaluation of a university-based sexual assault program's web-based crisis hotline. From those transcripts, we analyzed potentially inappropriate interactions (n = 38), most of which (n = 28) hotline responders flagged as inappropriate in post-chat log forms. We used codebook thematic analysis to explore how hotline responders identified and navigated these interactions. Our analysis generated three themes describing the processes through which responders seemed to identify potentially inappropriate chats - detecting implausibly graphic and abusive content, identifying patterns of presumably inauthentic chat topics, and interpreting ambiguous content. Hotline responders seemed to navigate ambiguous and less egregious boundary violations by gently redirecting conversations, and addressed clearer violations by setting firm, direct boundaries. Chatters responded to boundary setting by desisting and disconnecting or attempting to reengage responders. Findings highlight ambiguities and challenges web-based sexual assault hotline responders face and suggest a need for additional responder support, training, and debriefing options.

Obscene image detection using transfer learning and feature fusion.

Deep learning-based methods have been proven excellent performance in detecting pornographic images/videos flooded on social media. However, in a dearth of huge yet well-labeled datasets, these methods may suffer from under/overfitting problems and may exhibit unstable output responses in the classification process. To deal with the issue we have suggested an automatic pornographic image detection method by utilizing transfer learning (TL) and feature fusion. The novelty of our proposed work is TL based feature fusion process (FFP) which enables the removal of hyper-parameter tuning, improves model performance, and lowers the computational burden of the desired model. FFP fuses low-level and mid-level features of the outperforming pre-trained models followed by transferring the learned knowledge to control the classification process. Key contributions of our proposed method are i) generation of a well-labeled obscene image dataset GGOI via Pix-2-Pix GAN architecture for the training of deep learning models ii) modification of model architectures by integrating batch normalization and mixed pooling strategy to obtain training stability (iii) selection of outperforming models to be integrated with the FFP by performing end-to-end detection of obscene images and iv) design of TL based obscene image detection method by retraining the last layer of the fused model. Extensive experimental analyses are performed on benchmark datasets i.e., NPDI, Pornography 2k, and generated GGOI dataset. The proposed TL model with fused MobileNet V2 + DenseNet169 network performs as the state-of-the-art model compared to existing methods and provides average classification accuracy, sensitivity, and F1 score of 98.50%, 98.46% and 98.49% respectively.

The Historical Significance of Titicut Follies in Psychiatric Treatment: An Anti-Censorship Perspective.

Works of art and information judged as obscene can be censored or banned. This brief review evaluates the costs and benefits of censorship and the banning of artwork and information. In the history of psychology, Frederick Wiseman's film Titicut Follies epitomizes the disadvantages of concealing art content. Despite protecting the privacy of patients, the ban of Titicut Follies delayed the reform of psychiatric treatment practices and hospitals. The decision to censor or ban artistic and scientific information can result in the loss of knowledge and potential improvements to social, political, and economic institution practices.

The Association of Non-obscene Socially Inappropriate Behavior With Attention-Deficit/Hyperactivity Disorder Symptoms, Conduct Problems, and Risky Decision Making in a Large Sample of Adolescents.

Non-obscene socially inappropriate behavior (NOSI) is recognized as part of the tic disorder spectrum but has received little attention from researchers to date. A study in 87 patients with Tourette syndrome showed that comorbid attention-deficit/hyperactivity disorder (ADHD) and conduct disorder were also associated with an increase in socially inappropriate behavior. This study used data from the Millennium Cohort Study to investigate the relationship between NOSI and emotional symptoms, conduct problems, and hyperactivity/inattention as assessed by the Strengths and Difficulties Questionnaire (SDQ) in 1,280 youths, aged 14 years. Furthermore, the relationship between NOSI and decision-making processes as assessed by the Cambridge Gambling Task (CGT) was investigated. Hyperactivity/inattention and conduct problems were significantly associated with NOSI; emotional problems were not. Risk taking was significantly associated with misbehaving in lessons but not with being rude or noisy in public. The results replicate and confirm the association of NOSI with ADHD and conduct problems in a large sample, although it should be stressed that the size of the association was small. The results also suggest that some inappropriate behaviors are related to risk-taking behavior, while others are not.

Notas sobre o obsceno na literatura: uma leitura Lacaniana na época das imagens / Notes about the obscene in literature: a Lacanian view in the era of images / Notas sobre lo obsceno en la literatura: una lectura Lacaniana en la época de las imágenes

O texto articula considerações sobre o que é o obsceno em dois tempos na literatura com Georges Bataille e Michel Houellebecq. E o faz na busca de tocar o que se refere como uma mudança na lógica e nas regras de conduta em relação à sexualidade e à morte, questões hoje perpassadas pela ciência e pelo discurso capitalista. Essa nova ordem se insinua a partir da clínica psicanalítica e vem interrogar os textos literários, a fim de tocar um saber que o escritor traz e que antecede a própria psicanálise, trazendo-lhe consequências

The text articulates considerations about what is obscene in two occasions in the literature, with Georges Bataille and Michel Houellebecq. And, it does so in the search to reach what is referred to as a change in the logic and in the rules of conduct in relation to sexuality and death, both issues pervaded by sciences and by the capitalist discourse. This new order comes into light from the psychoanalytical clinic, and questions the literary texts, so as to stir a knowledge the author holds and which precedes the psychoanalysis itself conveying consequences

El texto articula consideraciones sobre lo que es lo obsceno en dos tiempos en la literatura con Georges Bataille y Michel Houllebecq. Y lo hace en la búsqueda de abordar el cambio en la lógica y en las reglas de conducta en relación a la sexualidad y la muerte, cuestiones hoy impregnadas por la ciencia y el discurso capitalista. Este nuevo orden se insinúa partiendo de la clínica psicoanalítica y viene a interrogar los textos a fin de tratar un saber que el escritor trae y que antecede al propio psicoanálisis, trayéndole consecuencias.

O lugar obsceno do suicídio / The obscene place of suicide / La place obscène du suicide / El obsceno lugar del suicídio / Der obszöne Ort des Selbstmordes / 自杀的下流性

Este artigo busca interrogar a relação entre o obsceno e o suicídio. Para isso, inicia-se abordando o conceito de obsceno, que é entendido como o que não pode ser colocado em cena. Relaciona-se o obsceno com a morte, que é mostrada em sua vertente repugnante, que está relacionada com o impensável de nossa desaparição. Em seguida, a leitura de Durkheim sobre o suicídio é abordada, assim como diferentes abordagens psicanalíticas sobre o tema. Por fim, aborda-se a relação entre o obsceno e o suicídio, sustentando-se a ideia de que o suicídio pode ter um lugar obsceno.

This paper seeks to investigate the relationship between suicide and the obscene. To this end, it begins by approaching the concept of obscene, which is understood as that which cannot be put on stage. It relates this obscenity to death – which, in turn, is revealed in its most disgusting aspect, related to the unthinkable of our disappearance. Next, reading of Durkheim’s theory about suicide is discussed, as well as different psychoanalytic approaches to the topic. Finally, it approaches the relationship between the obscene and suicide, supporting the idea that suicide may harbor an obscene place.

Cet article cherche à remettre en question la relation entre l'obscène et le suicide. Pour ce faire, il commence en abordant le concept de l'obscène, qui est compris comme ce qui ne doit pas être montré sur scène. Il fait le lien entre l'obscène et la mort, qui est montrée sous son aspect répugnant, qui est liée à l'impensable de notre disparition. Ensuite, la lecture de Durkheim sur le suicide est abordée, ainsi que différentes approches psychanalytiques sur le sujet. Enfin, il aborde la relation entre l'obscène et le suicide, soutenant l'idée que le suicide peut avoir une place obscène.

Este artículo busca cuestionar la relación entre lo obsceno y el suicidio. Para ello, comienza abordando el concepto de obsceno, que se entiende como aquello que no puede ser mostrado en escena. Se relaciona lo obsceno a la muerte, que se muestra en su aspecto repugnante, que está relacionado con lo impensable de nuestra desaparición. A continuación se analiza la lectura del suicidio de Durkheim, así como diferentes enfoques psicoanalíticos acerca del tema. Por último, se aborda la relación entre lo obsceno y el suicidio, sustentando la idea de que el suicidio puede tener un lugar obsceno.

Diese Artikel untersucht die Beziehung zwischen dem Obszönen und dem Selbstmord. Der Begriff 'Obszön' wird dabei analysiert und als das verstanden, was nicht ins Spiel gebracht werden kann. Das Obszöne steht mit dem Tod in Beziehung, welcher in seinem widerlichen Aspekt dargestellt wird und mit der Unvorstellbarkeit unseres Verschwindens im Zusammenhang steht. Anschließend wird Durkheims Selbstmordtheorie diskutiert, sowie andere diverse psychoanalytische Ansätze zum Thema. Zum Abschluss wird das Verhältnis zwischen dem Obszönen und dem Selbstmord analysiert, wobei wir die Hypothese vertreten, dass dem Selbstmord ein obszöner Ort zugeordnet werden kann.

本论文讨论自杀和下流的关系。首先我们给下流做个定义，下流是指拿不上台面的东西。把自杀和下流联系起来，展示自杀这个最令人讨厌的，最不可思议的结束生命的方式。然后我们重读杜克海姆的关于自杀的论述，联系精神分析学对自杀的不同的论述。最后，讨论自杀和下流的关系，提出一个命题，也就是说，自杀是一个下流的行为。.

A obscenidade do olhar: da janela indiscreta de Alfred Hitchcock à câmera diegética / The obscenity of a look: from indiscreet window of Alfred Hitchcock to a diegetic camera / La obscenidad de la mirada: de la ventana indiscreta de Alfred Hitchcock a la cámara diegética

Neste artigo, exploraremos o cinema como campo de interlocução para discussões sobre o olhar, na psicanálise. Em Janela Indiscreta, Hitchcock faz uso de um tipo de artifício no qual a câmera se confunde com o olho do personagem e do espectador. Assim, o apetite do olho é provocado, por Hitchcock, ao saber fazê-lo funcionar servindo à pulsão. A validade de retomar esse modelo é constatar que o recurso do mestre do suspense é explorado até a obscenidade em nossos dias; na obscenidade de querer poder ver tudo, condizente com uma época em que a intimidade já não se esconde, em que tudo se mostra. Na pista de Hitchcock, com a tecnologia, o cinema de horror investe na câmera diegética e promove milhões em bilheteria, desde A Bruxa de Blair. Acreditamos que o cinema nos ensina sobre uma nova forma de uso do olho, sintoma atual, que o torna mais que indiscreto, obsceno.

In this article we will explore the film as a dialogue field for discussions about the look on psychoanalysis. In "Rear Window", Hitchcock makes use of a type of artifice in which the camera is intertwined with the character and the viewer's eye. Thus, the appetite of the eye is caused, by Hitchcock, when he knows how it works, serving to drive. The validity of resume this model is to see that the appeal of the "master of the suspense" is explored until the obscenity in our days; the obscenity of wanting to see everything, befitting an era where intimacy no longer hides, in it all shows. Following where Hitchcock left off, with technology, the horror cinema invests in diegetic camera and promotes millions in box office since "The Blair Witch Project". We believe that the movie teaches us about another form of use the eye, current symptom, which makes it more than indiscreet, but obscene.

Este artículo explorará el cine como campo de cuadro de diálogo para las discusiones sobre la mirada en el psicoanálisis. En la película "La Ventana Indiscreta", Hitchcock hace uso de un tipo de artificio donde la cámara se confunde con el ojo del personaje y del espectador. Por lo tanto, el apetito de los ojos es provocado, por Hitchcock, al saber hacerlo servir a la pulsión. La validez de recuperar este modelo es ver que el llamamiento del maestro del suspense se explora hasta la obscenidad en nuestros días; la obscenidad de querer verlo todo, como corresponde a una época cuando intimidad ya no esconde, en él todos los espetáculos. Siguiendo a Hitchcock, con la tecnología, la película de terror invierte en la cámara diegética, y promueve millones en taquilla desde "La Bruja de Blair". Creemos que el cine nos enseña acerca de una nueva forma de usar los ojos, síntoma actual, que lo hace más indiscreto, pero obsceno.

A obscenidade do olhar: da janela indiscreta de Alfred Hitchcock à câmera diegética / The obscenity of a look: from indiscreet window of Alfred Hitchcock to a diegetic camera / La obscenidad de la mirada: de la ventana indiscreta de Alfred Hitchcock a la cámara diegética

Neste artigo, exploraremos o cinema como campo de interlocução para discussões sobre o olhar, na psicanálise. Em Janela Indiscreta, Hitchcock faz uso de um tipo de artifício no qual a câmera se confunde com o olho do personagem e do espectador. Assim, o apetite do olho é provocado, por Hitchcock, ao saber fazê-lo funcionar servindo à pulsão. A validade de retomar esse modelo é constatar que o recurso do mestre do suspense é explorado até a obscenidade em nossos dias; na obscenidade de querer poder ver tudo, condizente com uma época em que a intimidade já não se esconde, em que tudo se mostra. Na pista de Hitchcock, com a tecnologia, o cinema de horror investe na câmera diegética e promove milhões em bilheteria, desde A Bruxa de Blair. Acreditamos que o cinema nos ensina sobre uma nova forma de uso do olho, sintoma atual, que o torna mais que indiscreto, obsceno.

In this article we will explore the film as a dialogue field for discussions about the look on psychoanalysis. In "Rear Window", Hitchcock makes use of a type of artifice in which the camera is intertwined with the character and the viewer’s eye. Thus, the appetite of the eye is caused, by Hitchcock, when he knows how it works, serving to drive. The validity of resume this model is to see that the appeal of the "master of the suspense" is explored until the obscenity in our days; the obscenity of wanting to see everything, befitting an era where intimacy no longer hides, in it all shows. Following where Hitchcock left off, with technology, the horror cinema invests in diegetic camera and promotes millions in box office since "The Blair Witch Project". We believe that the movie teaches us about another form of use the eye, current symptom, which makes it more than indiscreet, but obscene.

Este artículo explorará el cine como campo de cuadro de diálogo para las discusiones sobre la mirada en el psicoanálisis. En la película "La Ventana Indiscreta", Hitchcock hace uso de un tipo de artificio donde la cámara se confunde con el ojo del personaje y del espectador. Por lo tanto, el apetito de los ojos es provocado, por Hitchcock, al saber hacerlo servir a la pulsión. La validez de recuperar este modelo es ver que el llamamiento del maestro del suspense se explora hasta la obscenidad en nuestros días; la obscenidad de querer verlo todo, como corresponde a una época cuando intimidad ya no esconde, en él todos los espetáculos. Siguiendo a Hitchcock, con la tecnología, la película de terror invierte en la cámara diegética, y promueve millones en taquilla desde “La Bruja de Blair”. Creemos que el cine nos enseña acerca de una nueva forma de usar los ojos, síntoma actual, que lo hace más indiscreto, pero obsceno.