Did the street-sweepers of Paris allow a young Picasso and Braque to peer into their refuse carts? Did the broken violins and torn newspapers therein help to formulate Cubism? Let's not overlook Schwitters, Rauschenberg, Tingueley, Cragg, the Fluxus Group, et al. Who knew that discarded materials, casually tossed by tradies, could fall in such dynamically elegant configurations?
Of course, John knew that the identifiable (but somewhat implausible) strands in the composition would unify with each other, and with the images as well.
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