—As of this moment, another tier-three word: RICERCAR—ree-TCHAIR-cahr—the term used in seventeenth-century musical scoring to denote a fugue of the sort not generally appreciated purely for its tonal qualities, but rather by those with a close understanding of the cultural significance of what was known contemporarily as "learned counterpoint," for its artifice and deft accomplishment. Involuted puzzles were frequently included within the music; in one famous case the composer J. S. Bach titled a ricercar "Regis Iussu Cantio et Reliqua Canonica Arte Resoluta"—which means "the theme given by the King’s command, with additions, resolved according to the canonic style," but is obviously a self-describing acrostic. Within the work were several biblical references injuncting the listener to "seek." The original meaning of "ricercare" being "to seek," this quest was a precondition of discovering the references. This raises a tangential point: the modern period’s obsession with art that comments upon its own artificiality and undermines its inherited gravitas by commentary is itself undermined by that inheritance. Also implicit is an early form of the Deep Blue Question: if one seeks with sufficient ingenuity in any sample, one can create a cryptographic rationale for any output text—therefore in any investigation the key problem is not how to begin, but where to stop. Would you like to change the name?