While until now the work of art culminated in a purpose, in a goal, in a title, in a task and the viewer functioned quasi as an impartial referee, who stood outside, the work of art now serves infinitely many billions of purposes and has infinitely many billions of titles, tasks and goals.       The “viewer” can no longer remain an impartial referee standing outside, because the title of the work is no longer existent, and especially because the viewer himself has become creative. For only through the “viewer’s” creative ability of seeing can internal creative films evolve which are only valid and make the work relatively visible for this particular “viewer.” Therefore the rage of a lower person (for instance a Communist or a Hitlerist) when he/she is faced with a work of art which is indeed invisible for him/her, can be easily explained.

 Based on the inability and impossibility of titling a transautomatic image or a transautomatic artwork (a tao = transautomatic object) evolving from an extremely difficult work process comprising complex, often contradictory, considerations of continuous developments (which for the most part proceed subconsciously)—,  double titles emerge automatically;