Transference / Sexual Iconology
Urban Conscientia

Kofi Fosu Forson

Future of Sex:

A sexually ludicrous text begets the envisioning of an on-line partner with whom one shares a confidently sexual dialogue. Enchanted by her sexual spirit, one manipulates the sexual organ, resulting in an orgasm.

Modern Sex:

A woman spends a vacation away from her marriage. A stranger proceeds to make love to her inside a hotel for days. She ventures to another part of town. While there, she meets an old boyfriend. They have an affair inside his flat.

Conventional Sex:

A man and woman fall in love. They get married. On their honeymoon they make love. Their lovemaking evolves from intense and passionate to dull and ordinary. But they love each other and build a family on life, love and death.

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Our loveless selves and half-lives have managed to reach a point of saturation. There is no sense of envelopment to think a sudden burst of orgasmic energy will bring us closer to the light. Certainly we tried with that renewed attempt at Tantric sex. That in it self was more an implosive controversy than a form of new birth.

Currently we are indeed overwhelmed and dulled by the manifestation of the female libido. Within the under-scribbling of what is sex…plainly as text, what is sex? Removed from its attempt at pleasure and remarking of love, is sex not a game or ploy? Indeed there are other potent ways to derive pleasure from the body but yes…sex is the essence of physicality and pleasure. Then it becomes fuel for the fire. In this the modern age we have been awakened to the sensibility of hard-ons and turn-ons. Purely it is remarkable, alarming and gorgeous.

Trouble with sex is that we never manifested. We only evolved. There’s a difference. Marilyn Monroe to Pamela Anderson…understood. But what happened to Phoebe Legere? There’s the clue. Sex as text domineeringly supersedes the ol’ in/out. People are making love not for pleasure but out of boredom.

Certainly now women are playing for all the marbles. Men have turned into trophies. And it’s not ones character that is definitive. It’s purely his availability. This then becomes the gamesmanship with which gender politics is now understood.

In order to manifest sexually, one must transfer the libidinal energy of sex to something more embraceable as in the expression of universal love, i.e. to think with the heart and not the mind.

Celibacy is a crutch. But it is a clearance of the mind not so much a refusal to make ready the libido. The itch for life is there. So is the pressing issue of sex. Only one determines a whole new understanding of whom, what and when. This carries over into the lifestyle, where one becomes conscious and aware in the day to day livability.

Sex is no longer a threat to our conscience. With every perversion comes a form of ludicrousness. We are no longer sexual by fucking. We are finding reasons to claim our urban conscientia. City life is difficult. It’s easier to answer a booty call than to reprise Dostoyevsky.

The enlightenment with which people perceive in sex is translatable simply in one singular breath. The orgasm is made up of short quick breaths. This is there where we seek enlightenment. In order to manifest we must claim our vicissitude. Every fortune knows a cross. To benefit we must challenge ourselves.

To kiss. To tongue. To fist. To cum.

Phallus / Foetus
Art, Gender, Modernity

Kofi Fosu Forson

Crazy Cock is a work of literature by Henry Miller. Louise Bourgeois is known for a particular well-sized phallic sculpture. In architecture, skyscrapers represent a notion of modernity. Robert Mapplethorpe defiantly used the male phallus to depict his sexuality.

Why then is the male as a phallic symbol revered and the female given her pubis is subjected to commercialization, pornography and pregnancy?

In art, architecture and design the truest form of precision is made by depicting a line. The angular form is modernized when subjected to incongruity. This has served as a basis for Cubism and some of the most spectacular works of architecture.

A circle, at once relevant to a spherical object, gives off notions of femininity. Intellectually it would suggest balance, complete thought and centeredness. Such is the regard brought upon the female. In essence, it’s much the reference to nature, the cycle of life…birth to infinity.

Interestingly, the phallic symbol suggests rigidity and stoicism and as a sexual organ it adheres to a theory that the testicular muscle exists singularly outside of the physical body, making it an entity upon itself.

Somehow the male phallus is an example of authority whereas the female pubis certifies a purified nature of birth: - this being its utmost certainty. And yet, circumstances that surround the birthing process are trivialized in the marketing of the female.

The nuclear family has undergone an outright shift making it probable for the female to seek independency outside of the family structure. She then denounces her traditional role of mother and seeks self-control and an ingrained identity.

Georgia O’Keefe’s coital depictions of flowers are pronounceable in this the modern age. Politically it celebrates the character of the female gender not as dependent but rather independent in her sexuality, politics and pubis: - that of which has undergone a renaming from the medicinal word “vagina” to the hardcore usage of “pussy.”

Pussy gives off the notion that sex somehow has been replaced by fucking. Currently society is drenched in a mild euphoria. Circumstances surrounding it stem from association and disassociation of intellectual and sexual identity common in every person.

This mind-bending evaluation is null and void in most people present in today’s society. We are driven by political and sexual prowess as humans. There’s no reverence for language. In order to achieve it we must decide for ourselves what angle to take. Progress starts with the individual. Marketing a new language takes a lifetime.

Conclusively the target is not the female. It’s the entranced notion of “pussy.” Pornography and art is the most pragmatic use of language as an enlightened source. This can be found in lyrics by Lou Reed, works of literature by Kathy Acker and the depiction of sexuality in Vanessa Beecroft’s interventions.

Pussy therefore may regress in its nature to embrace the deplorable term “cunt.” Metaphorically it represents an ideology, much of which can be found in fashion. Madonna’s bustier was legendary then. Demi Moore’s nude pregnant body on the cover of Vanity Fair was revolutionary.

Exposed navels almost revealing the pubis or flesh leading to the buttocks made visible as a crack or line are common examples in the semiology of fashion. Certainly there isn’t an outright attempt to defame culture within society. But much as Hugh Hefner created Playboy, the reason behind our transgressions is a matter of lifestyle and the purported messages put forth by the media.

Pornography and art became seedier from the earlier gentleman clubs and sex magazines. Larry Flint begot Al Goldstein and Ugly George led to amateur sex videos on the internet.

Overall the underbelly of society is driven by politics, money and pornography. Redeeming the nature of the beast will require a reintroduction of language. Such is the current culture where a heightened sense of articulation needn’t rely on an MFA or PHD.

All it takes is an embrace of language…“To arrive at the cup to withdraw the breast, much the same to lift a pen to write the very same word in another vernacular.”

Like modern lovers, we shed the skin of past lives to renew ourselves in future interventions. The modern ideology is a form of enlightenment. Some find it in pornographic sex, art, politics, fashion and music.

Overall, our conscience details the programmable notion of sex as hyper-real or through promiscuity.

Language resurfaces with each generation. There has never been a better time to seduce, from politicians to intellectuals.

Art, determined as philosophy will prove the thought process in every vault.

The future is now.

Kofi Fosu Forson’s Response To:
Sebastian Horsley on Whoring &
Ann Sprinkle 40 Reasons Why Whores are my Heroes:

I took that bemused path down Sebastian Horsley's Guide to Whoring and somehow I came to the conclusion that Whoring as it was so dearly and eloquently defined by Sebastian Horsley can justly be termed Merry Go Round and Round or Coming Round the Mountain. It expresses a sense of carnal knowledge free of politics. The conclusions drawn have to be made pertinent to his very mentioning of Democracy and Morality. Somehow Democracy and Morality have nothing to do with whoring. If made pertinent then we would be locked and fixated on the liberating of sex. Doesn't whoring render that conclusively without need for politicizing hereafter? So in a sense I think he misspoke in that example. Otherwise if explored as a literary text, it was exemplary of class, society, etiquette, seduction and charm.

Whoring is an affected appetite removed of politics rendered neutral and rarely does it meet a point of demand other than it's there for the taking. The very exclusivity and charm with which Horsley took us through his series of explanations adheres to the notion of whoring as an activity free of Morality's Pig because the grunt that he or any other lover makes isn't definitive figuratively of society as a Pig. Thereby making morality neutral and rendering the lover in this case a pig in shit or a lover merrily fornicating.

Sebastian Horsley somehow manages to remove the impudent nature of whoring by literarily painting a rather lovely understanding of what it is to seek sex free of attachment. I for one am bent on seduction and much like the pitcher on the mound in a baseball game, it's a matter of wit and much like a fisherman's tug and pull, it's a matter of waiting. What Sebastian Horsley manages to do is classify and redefine whoring as an activity free of societal and political ties...much the necessitated exploring of sex as cuisine, something one orders at a restaurant or purchases at a grocer's.

What brings to forth the issue of the masculine and feminine is that the male ascribes to a more gentlemanly and fabulous nature while the female as whore is determinably unfashionably whorish. The difference here is also made in class and sophistication, something Horsley made us to believe in that an ugly whore could give a great time in bed while a pretty one is half the sexual threat. Trouble with Sprinkle is that she dwells upon a cliche. The postmodern whore is a professor or a dramatist. She claims the pleasure of having her thighs and buttocks pounded by a variety of men for hours on end but she is a woman of worth. Her liberated sexual organ carries with it the pleasure of her brain as a sexual station and her heart as a sexual cavity which spontaneously receives the spirit of the male much like the sexual cavity receives the male musculature. Whoring has become not how free one is in fornicating but the ability to fornicate with honor, pride and power.

There have always been circumstances of the housewife and whoring as in the Bunuel film with Catherine Deneuve, Belle de jour. Given those circumstances the whore is brought into promiscuity via circumstance. In other forms, self-identity is an issue. Perhaps the body has been victimized. This then leads to a certain and constant means of sexualization. What is made prevalent as a young woman carries over as an adult and in some scenarios as young as preteens in the prostitution occurring on the world wide internet. How then from a male perspective does he interpret an experienced whore fornicating from a less adventurous whore? What is the target here? The fornication? The aesthetics? or the power play? Would he benefit from carnal knowledge with Annie Sprinkle for the outright pleasure or seek an aesthetique in a younger less experienced whore. Postmodernity has secured a manner of freedom in fornicating. Attention is given to body type, fetish and like Horsley described sometimes deformity in places like Amsterdam.

Annie Sprinkle is somewhat dated, at least the 40 examples certifies it as such. The disco and new wave whores have settled and continue to settle in a quiet notion of whoredom. Whoring irrespectively and respectively borders a real unreality unlike any period in time and history. The virtual world now warrants a placement of whoring in a complete domain which increases the potential of the whore as ultimately if female in a dominant and complete position and if male, he sees it fit to reverberate on the role of the female as receptive, accepting, conforming, loving as one bears witness to Horsley as comforting and Sprinkle as hippie and free.

The gender structure is maligned with Esthetique du Mal. Baudelaire was before his time. The flesh is made less of texture and more of torture. The virility of sex in the postmodern world whether as virtual, domesticated or international somehow has given the potential for every single person to whore!