Jakob Lotta’s docu-drama feature film, Novena Hopes (2025), and its companion record ‘Novena Hopes; Music for the Motion Picture’ utilize restricted tools to create images and sound that are historically untethered. The film was recorded entirely with an obsolete 2009 Nokia N95, while the music mimics a sound world that never fully existed, generating early-digital cues and Reader’s Digest CD textures via contemporary AI models. This work creates false temporal signals that feel familiar without belonging to a fixed past.Lotta consistently treats time-specific aesthetics as material. His work tackles ageism, a concern central to his non-linear multimedia publishing platform, love aiDS. This platform is constructed from a material language of age ambiguity—fragments that viscerally trigger age, such as altered children’s foam puzzles, condoms, outdated technology, artificial intelligence, digital printing on rag paper, pastel on first grader’s school notebooks, aquarelle, wax, streaming-era music, old women, Play-Doh, bones or marbles. Many objects look found but are fabricated; many works on paper look archival but are newly made; and many fragments carry the tone of documentation while being constructed to misdirect. The platform’s academic component, ‘jakob lotta's notes on love aiDS ; Age Ambiguity and the making of Novena Hopes’, received the Scriptie Kunst Incentive Award during Dutch Design Week 2025 in Eindhoven.Lotta’s working habits of restricted tools, repetition, fixed boundaries, and early stopping ensure a direct visual language and prevent over-refinement. His catalogue remains modular and adaptable; elements can be reconfigured without abandoning their underlying logic.Lotta’s practice directly engages the WHO Global Report on Ageism, which identifies "categorization, stereotyping, and prescribed roles" as the mechanisms of ageism. By fabricating materials that pretend to be old, young, recent, outdated, or inherited, he intentionally refuses to stabilize age as a visual category. The work builds environments where age cannot be immediately labeled, interrupting the viewer’s automatic sorting process. In doing so, his practice offers a concrete artistic response to the WHO’s call for interventions that challenge ageist perception at its root.