Acknowledgement of beauty is the sincere appreciation of the inimitable exuberance of the possessor in question. To misconceive this artistic tendency that has deeply rooted itself in the intelligence of human mind insofar as it has found roots is inane. Art has an existence that can't be ignored, can seldom be procrastinated in letting it find vents, can but be deterred by the dubious, seemingly pestilential forces of an otherwise putative society. Art has suffered more than any other entity in the last century. For art to assume holistic sense apprehension in the mind of an intelligent being, to regard art in the form of beauty and beauty to envelope art in its convenient grip, acknowledgement of cerebral intensity with an utmost sincerity is needed. This sincerity demands to empty eulogical prerequisites of all the artistic fragments and assume a monolithic entity. Art with its intensity can be but languorous in its approach insofar to locate the vents and purify the intelligence of the possessor, which has since the dawn of mankind shown an unreasonable peevishness in an apparent act of lechery towards societal forebodings. An intelligent being first locates his object of praiseworthy exuberance, apparently caught exuding chivalry and apprehends it in his mind's eye and thereafter proceeds to capture the same object against a seem less background of finely meshed in-existent background. This exercise although is discarded later in the life of an intelligent being for he would have by then encountered many objects of his taste and mastered the art of apprehending it. This exercise at the mere dispense of volition of the being in question conforms itself to the certified evidence of necessity owing to the capacious availability of evil forces invading outside the purview of the mind eye's intelligence. Art's power lies in attempting to convey the beauty of abstract ill-potent objects that can invigorate the minds of few good beings in finding them worthy of a pigeonhole, a notch higher than its impending mediocrity.
Beauty of art is in its inherent nihilism subdued by insitu intelligence in a fragrance of objective praise. To curb such an act of ballistic parade of intelligence is invariably granted autonomous surveillance of oneself on his own intelligence. This eye of skepticism on the intelligence of a possessor by himself is symptomatic of a malaise and a state of moral decrepitude that has lost its sense of rectitude and has made an ideological transgression into the uneventful abyss of ever tranquilizing inadaptable contentment. This though apparently attracts unreasonable praise from those that are unworthy of further inquiry than the ephemeral praise that they are capable of delivering, has but long and indecorous objectionable consequences. This maze of foolishness embellished neatly with islands of pent up intelligent figments of imagination find themselves in dubious forms of arts. One such art is sex, prurient scaled forms of art are left no ground to cover but to reside on the possessor’s intelligence. This possessor in question that was once a fertile factory of imaginations is now seeped off his brilliance and worse is undergoing a make-shift of unmanageable sexual activity. Possessors of art with this ailment allow display of virulence, attempt to camouflage their unmistakably ingenuous act of decimating whatever art is left in them. The slow but gradual shift from art to sex is seemingly innocuous, but propels quite an act of praise from all those around him. This undeniable invention of neuvo intelligence hitherto not found in him has ramifications also hitherto not considered worthful for there never was a chance of impunity from such an act for an artist. Artist now praises lascivious attitudes of voluptuous bodies, sadomasochism engulfs him in a labyrinth of spineless ideas that becomes an advocate of promiscuity and thereby condemning oneself to eternal contempt. This though gibberish, attracts other beings owing to the compatibility that they share between them for both have had their pristine times in the past and covertly acknowledge that fact. These groups of individuals bathe in illuminated virtuosity for their sheer acts of indulgences in arts derelicted of their artness.
This article finds its own culmination, I am just the carrier of this otherwise cerebral art of thinking. We see this in almost all the forms of art today. In movies, music, books, dance, in advocating medicine, in the impertinent endeavour of perpetuating virility in men. Advertisers of major companies regardless of their products, targeting middle class in precipitating the want to indulge in sex, which by all means is a sexual taboo by the frivolous but quite rigid societal laws, creates an immense amount of acquired penitence. Woman's anatomy was once the object of immense pleasure for artists insofar can be accredited to their want to explore the subtlest nuances with a sincere regard to beauty. The then artists are today's promiscuous sexual philanderers owing to their adaptability to the notion of sex being a taboo. All the pent up emotions of artistic exuberance could but find only one broad vent that takes them right into the abundance of acceptability, owing to the allegorical consensus that artists have struck with an act of vendetta to the surreptitiousness of sex in today's society. The orgy of sex in the past is relatively better than the ignominy of lechery today.
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