Intent and Accident, Controller and Controlled may be Bogus Gods:

no prime agent, no secondary automaton, no norm, no freak

The circle of interest

Aesthetics is the ceaseless hunt of the universe, nature and humanity to prove that nothing supernatural exists, for the truth of aesthetics is namely nothing other than the naturalness of the unnatural, the humanity of the inhuman, the health of the anomalous and sick, the clarity of the darkness, the good-fortune of misfortune, the competence and power of the incompetent and powerless, the significance of the insignificant, the track of the trackless, the reality of the unreal, the rightness and the truth of the intolerable, of dislike, nastiness, faithlessness, lack of respect, disobedience, injustice, recklessness, cynicism, distrust, insincerity, falseness, immorality, irresponsibility, crime and lawlessness, the order and utility of the capricious, the ephemeral, the terrible, the awful, the doubtful, the uneven, the unusual and misplaced as well as the unusable, useless, inept, disordered and impractical, in short, all that is not interesting except in its immediate effect, the new, the radical, the original and experimental, the fertility of the earthquake.

– Asger Jorn's Luck and Chance: Dagger and Guitar

Suppose there were four other principles operating in the universe which, in an interpenetrating dance, eliminated the dialectic argument of the mover and the moved altogether, where the distinction between "I grabbed the stone" and "The stone grabbed me" was nothing? That the language used was merely an acknowledged simplification of a bazilion events coming together in a single moment of mutual grabbing, the sense of which was owned by no one but the meaning or intensity grasped by all?

1.) Luck: events outside one's "control" are favourable, making agency merely the opportune recognition of chance happenings (cf., situation. There is a theory that this is the basis of capitalist accumulation when occurring at the end of a dagger and where chance and tune are eliminated or disregarded). Chance does not imply discontinuity or disconnection. That is the function of orderly dissection and precise (or "cutting") definition.

2.) Chance: Unrecognised, unforeseen events (accidents, gusts) enabling left and right or fore and aft decisions or coarse and cursive course corrections. Law is merely the iteration of these choices. In an ordered arrangement, chance is a spontaneous divergence from law, the appearance of difference. Chance as well may cut into an ordered arrangement like an asteroid or a dagger, bringing a certain lawful assembly to an end. When a straw appears which breaks the camel's back, so too a law is birthed by repeated observation: the law of excess, tipping point or thermodynamic entropy. Chance is for the most part arbitrary: that which is unintended (and undesired) by law-abiders brandishing daggers. The fragility of law-abiding systems is everywhere noted and glossed "erosion" or "death". This suggests a super-abundance of chance over law, that chaos is the norm and order the fluke. It may be that order and chance occur in no linear sequence nor represent "stages" of events: that they are merely two instruments of observation on the same phenomena resulting in distinctly different after-images, all re-enacted on a stage which itself cares not which performance is played. Were spectators not aware that staged events are only a matter of entertainment, they would be performers and the stage itself would disappear.

3.) Dagger: the point of interest, but also the inertia of movement without regard to contingency, erroneously regarded as purpose, personal choice, control and manipulation – a positive feedback spiral or thrust beyond the point of no return. "Damn the torpedoes, full speed ahead!". So also, the prick which propells. Every dagger inserted into the mouth of an equation is, irregardless of its modification along the way, expelled from the ass, still the dagger even when labeled "an important piece of shit", something which might be uttered by an hungry tulip with an iron deficiency. Goethe suggested imagination without taste only produces dissonant sounds or dystopian places.

4.) Guitar: the harmonics of stochastic but possibly not predictable contingencies which are necessary for the reproduction (memory) of choices – referring to art, flavour ("taste"), poetry, creativity, imagination. These harmonics respond to the lightest touch and are nothing but meaning, auspice, kinship, a gentle ringing. Their recognition is originality, their originality is their production. Their sharing is communication and their result is their initiation – movement. Only spontaneity generates organisation and direction. Try to eliminate spontaneity and every intended organisation becomes a system of increasing entropy, to the point of rupture, rip, tear, dissolution of future expenditure and debenture, sacrifice and theft, the very principles of social engineering but as yet unheard of in improvisational jazz.

Where Everything is contingent, there is no longer cause and effect, stimulus and response. There is only interest (and that is aesthetics) and choice (and that is movement). The abstraction is a game of eight-ball or the simultaneous strum of the first and fifth note, ignorant of the perspiration on the sawyer's brow over the same tree which became the cue stick and the guitar's slim neck.

The guitar should be a dead give-away or no-brainer, to use two aptly dead metaphors, revived with expended potlatch and renewed with play, or simply admiration. When one can admire (enjoy) the play of the other, the distinction between performer and spectator is also reduced to nothing beyond the sharing of gifts, which in this case are the mutually perceived movements of the vibrating instrument. If the sawyer and luthier are also among the "audience", where does one place primary agency? The tree or the the fertilised soil upon which it fed? Certainly it is the nature of the grain still living in the resonating soundboard which produced the sting in the player's heart when s/he chose that instrument over another! Certainly as well, it is the nature of the grain in the gut of the sheep who shat upon the soil from which sprouted the spruce. Something of that very entrail was entailed in the gut of the sheep which later became the "catgut" string setting the board to vibrating.