Seventh, obscenity and censorship issues will continue to play a key part in research on erotic art. They crop up in philosophical discussions of the nude (Nead 1992; Hammer 1997; Danto 2000; Scruton 2009) and of art that challenges the classical ideal of beauty (O’Hear 1991, Danto 1995, Mey 2007). They are also central to stipulative distinctions between erotic art and pornography (Maes 2012). George P. Elliott, for instance, defines pornography as 