Many more philosophical questions remain to be examined in relation to erotic art. The following will likely play an important role in future research on this topic. First, what exactly does it mean for a representation to be voyeuristic and what, if anything, is the difference between voyeurism in artistic and non-artistic representations? The question was already raised in John Berger’s classic Ways of Seeing (1972) and has recently been addressed in Schellekens 2012 and Eaton 2012. The latter also offers a philosophical re-interpretation of the influential but strongly psychoanalytically informed concept of the “male gaze” (Mulvey 1989). To say that a work embodies the male gaze, Eaton suggests, is simply to say that it prescribes that its audience perceives the woman represented as primarily a sex object. And: “To describe this “way of seeing” as “male” is not to claim anything about how all, or even most, men respond to such pictures; rather, it is to note that this is the “way of seeing” proper to someone in the masculine social role, a role which, it should be noted, is avowedly heterosexual” (Eaton 2012: 293).