Plurality in the Sexual Conscience
Video/Fantasy
Kofi Fosu Forson
Love in stereo meets the demand of transcendence. As a plural text it lends itself to constant interpretation within what is philosophical, hyper- and virtual.
Medium of music is by far representative as a means where construct and scheme come together at the great divide best expressed when two lovers meet. King Pleasure singing Moody’s Mood for Love is a clear example.
In a love song the literal text supposes a condition made familiar in lyrics. The aforementioned song is an example of utter deliriousness due to throes of love. Ecstatic feeling of love is also found in sensations due to use of illegal drugs. Somehow pleasure from lovemaking is irreplaceable.
Umberto Eco’s claim that “lovemaking for all its pleasures alone is stupid…” is somewhat misguided. Lovemaking is the most complete form of language between two partners. If conducted at its most heightened probability it accentuates all that is definitive between both lovers, made understandable as text.
Hence it is not lovemaking and its pleasures that is stupid. Fucking would suggest a more animalistic approach making it free from the communicative label found in lovemaking. The distinction between the two would present a different supposition within the language used in Eco’s statement.
In this our dramatic age of fanaticism, not much is left up to the imagination. There is a balancing among those who favor vehemence and others who approach life with an illimitable conscience.
The sexual conscience therefore enables a variety of plural texts rendered in hyper-reality as video, fantasy or photographs.
In virtual reality one comes upon a series of photographs of a lovely Romanian woman wearing a black dress at times standing almost on her toes and often reclining, enjoying her very own beauty and reveling in the velvetiness of the room.
After several exchanges of text on the theories of chiromantic and axiomatic art and with time elapsing, unexpectedly the conscience is awakened to visions of this woman, retelling in a caption of photographs her history as that woman in black dress lounging about a velvet room.
Virtual reality allows for that continuous path on which the mind concurs with reality the truth as it manifests as collection of images from memory. In fantasy, subjects of interest carry over as film which runs unedited up until a natural conclusion.
Miraculously, dialogue within is effortless, not cliché as pornographic, rather of circumstance and non-parody. Incorporating the act of sex is a matter of cut, edit and slow-motion. Otherwise as a source of Technicolor, one is able to fall into play with this as an afternoon matinee or late show.
Video/Fantasy
Kofi Fosu Forson
Love in stereo meets the demand of transcendence. As a plural text it lends itself to constant interpretation within what is philosophical, hyper- and virtual.
Medium of music is by far representative as a means where construct and scheme come together at the great divide best expressed when two lovers meet. King Pleasure singing Moody’s Mood for Love is a clear example.
In a love song the literal text supposes a condition made familiar in lyrics. The aforementioned song is an example of utter deliriousness due to throes of love. Ecstatic feeling of love is also found in sensations due to use of illegal drugs. Somehow pleasure from lovemaking is irreplaceable.
Umberto Eco’s claim that “lovemaking for all its pleasures alone is stupid…” is somewhat misguided. Lovemaking is the most complete form of language between two partners. If conducted at its most heightened probability it accentuates all that is definitive between both lovers, made understandable as text.
Hence it is not lovemaking and its pleasures that is stupid. Fucking would suggest a more animalistic approach making it free from the communicative label found in lovemaking. The distinction between the two would present a different supposition within the language used in Eco’s statement.
In this our dramatic age of fanaticism, not much is left up to the imagination. There is a balancing among those who favor vehemence and others who approach life with an illimitable conscience.
The sexual conscience therefore enables a variety of plural texts rendered in hyper-reality as video, fantasy or photographs.
In virtual reality one comes upon a series of photographs of a lovely Romanian woman wearing a black dress at times standing almost on her toes and often reclining, enjoying her very own beauty and reveling in the velvetiness of the room.
After several exchanges of text on the theories of chiromantic and axiomatic art and with time elapsing, unexpectedly the conscience is awakened to visions of this woman, retelling in a caption of photographs her history as that woman in black dress lounging about a velvet room.
Virtual reality allows for that continuous path on which the mind concurs with reality the truth as it manifests as collection of images from memory. In fantasy, subjects of interest carry over as film which runs unedited up until a natural conclusion.
Miraculously, dialogue within is effortless, not cliché as pornographic, rather of circumstance and non-parody. Incorporating the act of sex is a matter of cut, edit and slow-motion. Otherwise as a source of Technicolor, one is able to fall into play with this as an afternoon matinee or late show.
1 comment:
Congratulations for your painting!! I like very much your work, your freedom of painting.(sorry for my horrible english) You did a comment in facebook and for this reason i find your blog. the best.
mariana gabor
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