He was fascinated by the transformation in perception and in valuation brought about by sensual arousal. The contrast with the spectrum of changes brought about by his customarily varying emotional and self-referential states could not have been more dramatic. Like the flipping of a switch, what had previously been unthinkable became what best expressed his wish, and like the flipping back of the lever, the rapid reversion once it was over, leaving him stunned at what he'd suddenly been ejected from. While still in the midst of it, the attributes of the object would change not only in value and in detail but also in the kinds of absorption which they provoked. The balance in importance between the different senses was upset and the mode of interpretation lost its calculative character and became aestheticised, although in a crudely 'musical' way. The role of the objectively beautiful was usurped by an insistent and incongruent subjective version of beauty. Objective beauty was seen less as the aptitude for bringing such a transformation about as a guarantee of its congruence. The gesture became an ambiguous language of embodiment, which would either perform an apprehension of the melting away of boundaries, or fail to do so, catastrophically. All of this taking place on a kind of stage in which acts were imbued with a strange portentousness, merging the act, the word, the thought, the description, the response.