Modern Aesthetic
Female Intellectual Beauty

Kofi Fosu Forson

Beauty in eye of beholder will soon be founded on principle where women form likeness with mannequins evident in Vanessa Beecroft intervention, removing any references made about originality, hence human conditioning of love would be relegated to physical desire and fornication.

Flesh has been restricted from its natural progression into maturity. What once was normal now undergoes a certain death with hopes of producing a new, however artificial, understanding of the body.

Manifested in this somehow is disrespect for the spiritual being. Physical self becomes fallout shelter misinterpreting sex for love and acquaintanceship for trust.

Sex then will be made definitive as an act between two bodies without any immediate attraction just a need and crush to experiment whether with toy, enhancement drug, exotic wear or video.

Many among us live in isolation as self-made individuals removed from the notion of normalcy. Ours is a life with potential. We make sacrifices which allow for an independent livelihood expressed through need for intimacy, intellect and an understanding of sex as desirous, lustful, bound by love between two individuals who share a common philosophy. Given the gamesmanship of love and sex there are those who take on lovers. Women are prone to display such behavior whereas men if not identified with one partner choose several randomly. Current trend among women is multiplicity of lovers who serve different purposes.

The female as an intellectual has a heightened sense of consciousness and beauty, at times giving off notions of prescience. That an intellectually beautiful woman has a sense of foresight!

Does beauty equal intelligence? Combination of intellect and beauty manifests into a euphoric disguise where it seems improbable for both elements to merge.

Intelligent women who are equally beautiful charismatically form at center a neurotic and guarded disposition. Reason being their physical selves are at odds with their central core existence.

An artist’s perception of this would be Picasso’s cubist paintings of Dora Maar. They express a psychology which translates the dilemma found in the beautiful physical self and neurosis suggested by intelligence.

Internally the particular woman would be prone to theatrical and outlandish display found in an actress, dancer or interventioner. It becomes a balancing of both extremes without which would combust as means of eccentricity as a living and breathing encyclopedia or chaste female speculating on sexuality.

Erotically the woman in question is a confident lover not so because she’s a great lover but that she knows of her existence both intellectually and sexually. Thereby it allows her to be desired based on her reflections on love, romance and sex, the act of which she wants and imbibes as crucial element of her nature as woman but would rather be with someone she loves with her mind and body. Otherwise it’s scarcely relevant and at best a conquest.

Narcissistically intellect and beauty in the female allows for persona other than the one that exists. Circumstances surrounding this border fantasy and the stimulating of ego. By envisioning a persona other than self allows for distinction expressed through fashion, personality and character.

The self is lived as fantasy presenting an acute delusion. At times it serves as shield from unwanted attention marking need for privacy.

Angularly the female determines appropriation between fantasy and functionality which form to define ultimately an intellectual and beautiful woman glorified as lover, an aesthetic, peculiarly haunting.