1. INSTRUMENTAL UGLINESS AND BEAUTY. Compared to the violin, the guitar is musically an ugly instrument which relies upon a reactive, or plucking/strumming, technique vis-à-vis its strings. Yet both violins and guitars are arguably bodily or 'worldly' instruments ... having a mundane significance, in flesh/touch sensuality and womb/id sensibility, as germane to negative nature and positive civilization respectively, the former masculine and the latter feminine.
2. MODES OF GUITAR UGLINESS. To distinguish modes of ugliness with regard to the guitar ... from the most ugly mode of single-note plucking without slide to the least ugly mode of single-note plucking with slide via the more (relative to most) ugly mode of chordal strumming without slide and the less (relative to least) ugly mode of chordal strumming with slide.
3. MODES OF VIOLIN BEAUTY. To distinguish modes of beauty with regard to the violin ... from the least beautiful mode of single-note pizzicato to the most beautiful mode of single-note bowing via the less (relative to least) beautiful mode of double-stopped pizzicato and the more (relative to most) beautiful mode of double-stopped bowing.
4. ATOMIC BREAKDOWN OF GUITAR UGLINESS. Hence, with regard to the guitar, from the alpha-most technique of elemental electron particles to the alpha-least technique of elemental electron wavicles via the alpha-more (relative to most) technique of molecular electron particles and the alpha-less (relative to least) technique of molecular electron wavicles.
5. ATOMIC BREAKDOWN OF VIOLIN BEAUTY. Hence, with regard to the violin, from the omega-least technique of elemental neutrino particles to the omega-most technique of elemental neutrino wavicles via the omega-less (relative to least) technique of molecular neutrino particles and the omega-more (relative to most) technique of molecular neutrino wavicles.
6. IDEOLOGICAL DIVISIBILITY OF GUITARISTS. One could say that guitarists are divisible, relevant to the realist essence of primal taking, the quality of negative nature, between 'stupid' and 'smart' ... according to the absence or presence of a slide, the former comparatively 'stupid' and the latter comparatively 'smart'. For the 'stupid' modes of guitar playing correspond to realist science (elemental) and politics (molecular), whereas the 'smart' modes of guitar playing correspond to realist economics (molecular) and religion (elemental).
7. IDEOLOGICAL DIVISIBILITY OF VIOLINISTS. Likewise, one could say that violinists are divisible, relevant to the humanist essence of supreme giving, the quality of positive civilization, between 'stupid' and 'smart' ... according to the presence or absence of pizzicato, the former comparatively 'stupid' and the latter comparatively 'smart'. For the 'stupid' modes of violin playing correspond to humanist science (elemental) and politics (molecular), whereas the 'smart' modes of violin playing correspond to humanist economics (molecular) and religion (elemental).
8. CONTRARY FATALITIES OF GUITARISTS AND VIOLINISTS. Compared to the 'smartness' of violinists, who almost invariably use a bow, thereby aligning themselves with the omega-more and omega-most modes of playing technique in a bias towards humanist economics and religion, most guitarists would seem to be 'stupid', since biased, by and large, towards the alpha-more and alpha-most techniques of guitar playing - the former political and the latter scientific, a distinction, in short, between chordal strumming and single-note plucking, neither of which have reference to the use of a slide. In fact, the use of a plectrum to enhance plucking and/or strumming is almost mandatory with these alpha-more and alpha-most modes of guitar playing.