If "weighting" is a pure and intuitive unconscious process that only reflection reveals, "ordering" is the active facet that accompanies "weighting." "Ordering" is an experimental re-construction, it is the engine driving composition and takes those ingredients separated and prioritized in "weighting," stitching them together to produce a new world-image. Every work of art is "ordered," so to speak, such that distinct elements of the artist's foreign world of worldbuilding are underscored.
The first step in ordering the world is to accept that there is no meta-perspective that might grant it objective factitude. The artist does not seek to do the work of the scientist and, thus, the artworks do not seek to simply reflect those physical, chemical or mathematical causal processes which preoccupy natural science. Rather, ordering accepts that the aesthetic reimagined logic that the artist brings to the world by way of the artwork has equal critical purchase.
Worldmaking, as a generative aesthetic task, is a diffracted mosaic rather than a uniform mirror, with the pieces coming into form through human agreement. Thus, even given the world's realist backdrop, it is "ordering", as it relates to the intentionality of observers that allow for new compositions to become stitched into a common backdrop. In an open and pluralist universe, any ordering reveals the fabricated nature of the artist's claim to aesthetic truth. Ordering seals crevices, with the need to conform to veridicality replaced by distinctly human play. Often, ordering will reveal certain indexes to the literal world: a completely abstract sculpture with variegated colors, entirely foriegn to the natural world, will nonetheless remind the viewer of a human face at times, due to two eye-like slits. Similarly, an ambiguous and abstract landscape with inverted colors will, nonetheless, feel familiar. The artist is, thus, the figure of the deconstructivist par excellence. In their deconstructing any presumptive order, the artist proves by way of their artwork that just when we may presume we have understood our social fabric, our political sphere, or the "laws of linguistics" properly and thoroughly, there is always a hitherto neglected viewpoint. In making the familiar look strange, if only for a moment, ordering demonstrates the certainty of our taken-for-granted beliefs, understandings, and prejudices. If ordering is always an implicated artefact in-itself, it serves as an asymptote.