The remarkable late-season run by the Ottawa Senators is best justified by their predisposition towards development. Beauty measures such inclinations. This paper documents the derivation of the term and applies it to the Senators. In doing so, an intensive discussion about text, subtext, and context is undertaken to show its relationship with George Birkhoff’s complexity, order, and aesthetic measure. Various anecdotes from Ottawa’s season are used in this regard. Finally, this paper questions the importance of beauty and subtext in an environment of inner and outer forces. The author describes certain occasions during the Senators’ season, interprets them in two ways, and suggests that by accepting a strict belief in the outer force, one can reduce the value of beauty and subtext.

The aesthetic method describes situations where the different states of a system cannot be linked together by the scientific method nor can its actions be asserted exclusively upon one’s beliefs. Aron Katsenelinboigen writes that a system’s impact on its advancement may be apparent in its beauty, where the elements of the system are both subjective and objective, since beauty "is an ordered structure that creates a predisposition towards development." The great Immanuel Kant supports this notion in his writings, "Beauty is a form of worth of an object, which is appreciated without any idea of a goal." Given some incompleteness and inconsistency, one can therefore conclude that beauty allows us to understand the influence of the current state of progress upon future development.

Birkhoff’s theory of aesthetic measurement corresponds to the stated conclusion in that it combines aesthetics with subjective perception. He observes three successive phases in the common aesthetic experience: complexity, C, order, O, and aesthetic measure, M. He delineates complexity from order by stating that the former is a requirement for the act of perception (material parameters) while the latter stems from the hidden harmony characterizing an object necessary for an aesthetic effect (relational parameters). The equation: M = 0/C describes the value or aesthetic measure.

Consider the Ottawa Senators, a National Hockey League franchise, to understand Birkhoff’s theory. Suppose that a, b, c, . . . are the various pieces of a hockey team, i.e., players, coaches, managers, and that r, s, t, . . . are the quantity coefficients. C = ra + sb + tc + . . . can represent the measure of complexity. For example, since an NHL team plays each game with a roster of twenty players, one can state that r = 20. By doing so however, one automatically assumes that all players are of the same caliber. To rectify this, one would have to subdivide the category into smaller fragments such as players by performance (Andreas Dackell — 31 points vs. Alexandre Daigle — 51 points) or players by position (Tom Chorske — forward vs. Lance Pitlick — defenseman). Realistically, however, no two players are identical so any subdivision would take the form a = a ₁a₁ + a ₂a₂ + a ₃a₃ + . . . + a _r a_r. One can elaborate the same scenario for the coaches and management staff. An important factor differentiates a hockey team from other systems: its complexity if fixed. League rules govern such factors and consequently, with C not changing, the general manager, Pierre Gauthier, must focus on O, the relational parameters to increase M, the aesthetic measure.

One can study order in a manner analogous to that used in dealing with complexity. From the materials parameters listed above, the extent of the order stems from the relations between the players and players, coaches and coaches, management and management, players and coaches, coaches and management, and management and players. These can be denoted by l, m, n, . . . and can take on either positive, negative or zero values. One can employ the quantity coefficients u, v, m, . . . or subdivide the relational parameter to a point where, similar to above, each coefficient is one (i.e., l= b ₁1₁ +b ₂1₂ +b ₃1₃+. . . . + _{b u} 1_u). One is led to write 0 = ul + vm + wn + . . . as an expression for order. Take Randy Cunneyworth and Shawn McEachern for example, the gritty Cunneyworth maintains a rugged, grind-it-out style of play, whereas McEachern mainly uses his speed and elusiveness. Their respective styles of play complement one another, increasing the value of O by giving rise to a positive relational parameter. One can look at the Alexei Yashin saga for a negative relational parameter. He refused to play for then coach, Rick Bowness, and asked then general manager, Randy Sexton, to be traded. His desires diverged from those of the coaching staff end management group and consequently, reduced the value of O by creating negative media publicity for the team and unnecessary pressures for the players. The relationship between coach Jacques Martin and an administrative assistant would be an example of a zero-value positional parameter as their interactions are rather insignificant in discussing the team’s performance. Since complexity is constant in this case, only order can increase the aesthetic measure of the system.

Before one can evaluate the horde of positional parameters and determine the level of the Senators’ beauty, one should understand the meanings of text, subtext, and context because many of the positional parameters are slight and easily missed. A mono-dimensional allusion grouped with a disjointed vision describes the idea of text, while the same vision combined with a multidimensional allusion defines the subtext. On the other hand, a comprehensive vision with either a mono-dimensional or multi-dimensional allusion characterizes the concept of context. To better understand these issues, one should fully grasp the three following events.

Take for instance, Gauthier’s acquisition of defenseman Janne Laukkanen; on the surface or textual level, it appears as though the Senators have acquired a solid player to fill a void in their roster. However, on another level, one would observe that Laukkanen is Swedish and that the team’s leader, Daniel Alfredsson (Alfie), another Swede, was having a tough time adjusting to North America. The fact that a player was acquired was secondary to the fact that management brought in a friend and roommate for Alfie. This transaction augmented the value of Ottawa’s position and suggests that material parameters make up the textual component while positional parameters are strictly associated with the subtext.

One can refer to a non-transaction by the management to further understand how the subtext impacts beauty. Note that the context of these events refers to the building of a winning hockey team. At this year’s trade deadline, it was highly speculated that Steve Duchesne would be dealt to a Stanley Cup contender for some youth. This, surprisingly, did not materialize. To understand why, one must consult the subtext. At that time in the season, the Senators were still among the contenders for a playoff berth and any move would have devastated the team’s chemistry. Gauthier also recognized that Duchesne served as a mentor to future superstar, Wade Redden. By trading Duchesne, management would be sending a negative message to the club — they would be conceding defeat. They would have also made an anti-positional sacrifice in terms of Redden’s development. This example shows how the subtext can unite and energize a hockey team.

The previous two examples dealt with text and sub-text on a managerial level. To further comprehend the text and subtext relationship, one should consider the actions of coach Martin. In a crucial playoff game, Martin played 21-year-old Radek Bonk on the team’s number one line. Though on the surface, this may be dismissed as simple line-up juggling, if one scrutinizes the subtext of the adjustment, they would come to a different conclusion. By playing Bonk on the number one line, Martin sent Radek a message of confidence. Bonk’s self-esteem skyrocketed and this was reflected in his superb play. This not only helped to increase the positive relations between the coaching staff and the players, but also made the team tighter; Bonk was readily accepted and respected by his peers. These three anecdotes deal with an identical structure. Material parameters make up the text while positional parameters make up the subtext. To understand the term beauty or Birkhoff’s aesthetic measure, one must respect the power of the subtext.

The notion of beauty and power of subtext are both important factors when discussing a system’s potential. But, one may wonder the magnitude of their importance. To find the answer, one must delve into the realm of the system’s environment. Consider two forces, an inner one, exhibited by an actor or subject, and an outer one that is divine or supernatural. The significance of both beauty and subtext lies in the relative strength of the inner force versus the outer force. For example, let us suppose that a system portrays a weak inner force and must deal with a strong outer force, one can reasonably assume that the importance of beauty and subtext are negligible since the outer force will prevail. The debate of inner force versus outer force is extremely delicate and it is not in the author’s place to rule one way or another. However, to better fathom this dilemma, one should observe the following cases.

Injuries are a part of professional sports, but to what extent are they caused by inner and outer forces? For instance, the services of key defensemen, Sean Hill and Stanislav Neckar, were lost to the Ottawa Senators early in the season. Is it a coincidence that both players were hurt on the same night? The proponents of the outer force would contend that this occurrence came from a negative and random energy on the macro level (i.e., misfortune). The weakened defensive corps was Ottawa’s fate (i.e., negative predisposition). From an inner force point of view, athletes are often sidelined when they over-exert themselves or fail to properly warm-up and stretch (i.e., minimal beauty). It is to the reader’s discretion as to what caused the injuries to Hill and Neckar.

In a recent playoff, Sergei Zholtok scored what appeared to be the go-ahead goal midway through the third period. However, the referee and goal judge both failed to recognize this. Under such circumstances, the video replay official has jurisdiction and may suspend play until a decision is reached. Unfortunately for Ottawa, the video equipment was malfunctioning and play had resumed before the 10-second problem was solved. The Senators eventually won the game in overtime, but not before some anxious moments. This episode raises some serious questions about inner and outer forces. Those from the inner-force school would argue that the multitude of shots against the adversary and the successful execution of the neutral zone trap created a predisposition for Ottawa towards future development. Looking from the outer-force position, one can argue that the disallowed goal was a result of a negative and random force on the micro level (i.e., ill-chance) and that the ultimate victory arose from a positive predisposition on the macro level (i.e., destiny). Although theoretically possible (as in chess), it is inconceivable to have a positive or negative programming outer force in a hockey game with the participants serving as puppets. By accepting the presence of an outer force, one may be succumbing to the tensions of predispositioning. In other words, to avoid the difficult process of creating a position, one may vehemently believe in the outer force, thus rendering beauty and subtext obsolete.

A system’s potential is best measured by its beauty. Birkhoff’s depicts such an aesthetic measure in terms of the system’s complexity (material parameters) and order (positional parameters). When evaluating a system’s position, one must consider the subtext and context in addition to the text. From the subtext, one can draw the necessary relational parameters to augment a system’s beauty. The importance of beauty and subtext in terms of a system’s potential, however, are subject to both inner and outer forces. Should the outer force be more powerful, the need for beauty and subtext is diminished. The tools detailed in this paper leave to the reader’s subjectivity the decision of whether Ottawa’s success was a result of destiny or a beautiful position.

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