"There is no requirement for those affected by an idea to be aware of any of this, of course. When the writer and media critic Philip Sandifer writes that "David Whitaker, at once the most important figure in Doctor Who's development and the least understood, created a show that is genuinely magical and this influence cannot be erased from within the show," he does not mean that any of the hundreds of actors and writers who went on to work on the programme saw it in those terms. Or as Sandifer so clearly puts it, "I don't actually believe that the writers of Doctor Who were consciously designing a sentient metafiction to continually disrupt the social order through a systematic process of detournement. Except maybe David Whitaker." From Drummond and Cauty's perspective, the story of Doctor Who is irrelevant. All that was happening was that they were exploring their mental landscape, and they were fulfilling their duty as artists by doing so more deeply than normal people. This is a landscape with many unseen, unknown areas where who-knows-what might be found. The KLF explored further than most and, if we were to accept Moore's model, it would perhaps not be surprising that a fiction as complex as Doctor Who could encounter them in Ideaspace and, being at its lowest point and in dire need of help, use them for its own ends. For Moore, and other artists such as David Lynch who use similar models, the role of the artist is like that of a fisherman. It is their job to fish in the collective unconscious and use all their skill to best present their catch to an audience. Drummond and Cauty, on the other hand, appear to have been caught by the fish. Lacking any clear sense of what they were doing, they dived in as deeply as Moore and Lynch. They did not have a specific purpose for doing so. They just needed to make something happen - anything really, such is the path of chaos. "It was supposed to be a proper dance record, but we couldn't fit the four-four beat to it, so we ended up with the glitter beat, which was never really our intention but we had to go with it," Cauty has said. "It was like an out of control lorry, you know, you're just trying to steer it, and that track took itself over really, and did what it wanted to do. We were just watching." This lack of intention is significant, from a magical point of view. One of the most important aspects of magical practice is the will. Aleister Crowley defined magic as being changes in the world brought about by the exercise of the will, hence his maxim 'Do what thou Will shall be the whole of the Law.' The will or intention of a magical act is important because the magician opens himself up to all sorts of strange powers and influences and he must avoid being controlled by them. Drummond and Cauty were not exerting any control on the process, and so they made themselves vulnerable to the who-knows-whats that live out of sight in the depths of Ideaspace. For this reason, you could understand why Moore would think that Bill Drummond was "totally mad." All this only applies if you're prepared to accept the notion of magic, of course."