"Paintings have always been made of more things than humans. They have been made of paint, which is powdered crystals in some medium such as egg white or oil. Now when you put the painting on the wall, it also relates to the wall. A fly lands on it. Dust settles on it. Slowly the pigment changes despite your artistic intentions. We could think of all these nonhuman interventions as themselves a kind of art or design. Then we realize that nonhumans are also doing art all the time, it’s just that we call it causality. But when calcium crystals coat a Paleolithic cave painting, they are also designing, also painting. Quite simply then, the aesthetic dimension is the causal dimension, which in turn means that it is also the vast nonlocal mesh that floats “in front of” objects (ontologically, not physically 'in front of')."
--Timothy Morton, Realist Magic
There is an infinity of points between A and B. One is cognizant of little in the great scheme of things. Some, of course, more than others; but that is made too much of (one's hot and another's doodly-squat, etc). This is to say, among other things, that any narrative line is but a thread from a fabric that can never in its entirety be known. All experience is a part of and apart from an unknowable whole.
There is an infinity of points between B and C. Humans have always been made of more things than paintings.
There is an infinity of points between C and D. Humans have always made points and been made of an aggregate of points also.
There is an infinity of points between D and E. Now when one points one's finger at a wall, it also relates to all of the points between the finger and the wall that one cannot perceive.
There is an infinity of points between E and F. A fly buzzes over dust settling over the changing figments of one's intentions.
There is an infinity of points between F and G. One could think of any kind of intervention as art.
There is an infinity of points between G and H. It's just that we call it clausal.