13:32:52; 26-12-2010
Appearances are deceiving. Images are our gods. Our image is our most precious possession. The absence of beauty does not equal the presence of sadness. Nostalgia, however, does not add beauty or meaning to meaninglessness. Jesus does not exist. The beauty of images is questionable. New York is beautiful. Four years is a long time. Beauty and Love were frozen:Seven years, three months, two days, twenty-three hours, fifty-nine minutes and thirty-one seconds. After that they were simply absent, non-existent. In this emotional vacuum devoid of strong affection and personal attachment and without any

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(2): While the use of seemingly nostalgia laden images creates a growing emotional attachment to each moment in time, the experience of this emotional attachment becomes less and less personal. At the point of inversion, one single image, intolerably nostalgia laden, yet devoid of personal memories, breaks the memory-nostalgia relation, which results in a climactic experience, at once full of euphoric revelation and profound disappointment. The image, in a traumatic transmutation of repulsive self-rejecton, looses all its aesthetic properties.
Time? RETROspective inVERSION of all MOMENTS IN TIME.
The abstract structure of points:
a musical score of
notes, chords and intervals,
performing the eternal
melody of time.
perceptual experience of pleasure, meaning, or satisfaction, a structure slowly became apparent that would eventually display characteristics akin to notions of beauty and love: Time, reflected through art as an abstract arrangement of inter-related, inter-connected and interwoven points, instances and moments.
The purpose of this article is to establish the moment in time that can be described as the point of inversion, the most critical point; all previous moments being irrelevant at the time of occurrence and the abstract arrangement being unaware of its own existence. Once the point of inversion has passed and, more importantly, has been identified, all points and therefore the structure as a whole take on a retrospective meaning that transcends ideas of nostalgia, as the true meaning does not lie in any properties the points may reflect, but in the pure appreciation of the moment as an experience of time itself.
In appreciating this orgasmic experience of time lies the true beauty and love of the process while the structure, as an artwork and abstract arrangement, is the manifestation of this process. Images, however destructive and obstructive to the process in general, are instrumental in a number of ways, but have to be defended against the attacks of the 'Nostalgia Machine', which would logically attempt to intrude and infiltrate the process, thereby rendering it ineffective and incorporating the process in the Nostalgia Machine's all encompassing representation of life as an audio and visual surface of perceived properties of beauty and love. The Nostalgia Machine's inherent propensity to fictionalize life functions proportionally successful to its ability of presenting an ever perfecting narrative, seemingly in tune with the eternal rhythm of beauty and love. 'The process' must resist such tendencies and embrace the sensual pleasures of time without notions of past and future. This effort of identifying narrative-free moments in time can only succeed, if the following two preconditions are observed:
(1): the selection of images follows a 'process' of elimination.
Each identified moment is positioned against a set of images, which gradually decrease in numbers for each successive moment until the point of inversion is reached, the precise occurrence of which is identified through one single image.
'the process' is the temporary identification for a process, yet to be fully defined. It shall be given its full identification at this moment in time