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a corollary of the ontology of becoming in music is again, then, a democrati-
zation, a lessening of centralized control, a sharing of responsibility, among
producers, consumers, and machines.
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My fifth and final point is this. It is ironic that Eno came to cybernetics
via Beer; he should have read Pask. The musical insights Eno squeezed out of
Beer's writings on management are explicit in Pask's writings on aesthetics. As
we can see in the next chapter, if Pask had handed him the torch of cybernet-
ics, Eno would not need to have equivocated. Pask, however, was interested
in more visual arts, the theater and architecture, so let me end this chapter by
emphasizing that we have now added a distinctive approach to music to our
list of instances of the cybernetic ontology in action.
