divides into so many specialist subjects
that don't/won't reference each other
that where wealth creates knowledge
whatever we learn isolates us from each other,
as, like poor Alice in Alice in Wonderland,
we each go down different rabbit holes
of isolation and misunderstanding.
I have no antidote, or any way of making
the scientific rabbit holes meet t up
with each other, all I try to look after,
the better to limit it, is my sense of isolation
And never is it more easily unsettled
than in the media schedules we follow,
where as long as the schedules remain fixed;
as long one programme follows another
in the right order as printed in the magazines
that list everything, then listeners and viewers
know where they are. The print represents reality.
But when a broadcaster decides that radio
and television should be a multiple movable feast,
a smorgasbord of programming where any programme
can be available at any time, when it is first broadcast,
in the week, no longer matters then also the order
of the listener's life no longer matters either.
Trying to listen to new editions of the programme
when it used to be broadcast, or according to when
the listener regularly likes to listen is one answer.
But what to do when the programme, or presenter,
is 'retired' and strangers take over your listening experience?
Then you are the stranger, to yourself and the past
which is no longer sustained, or sustainable.
Time has become truly flexible and temporary.
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| 'Portrait of Max Ernst' as painted in 1973 by Leonora Carrington, who had an affair with Ernst in 1937/8, long before creating this image. |
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| 'Self Portrait in the house of The Horse' as painted in 1937/8 byLeonora Carrington. |
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| 'The Feast of Samhain' as painted in 1951 by Leonora Carrington (1917 - 2011). |
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| 'The Pomps of The Subsoil' as painted in 1947 by Leonora Carrington. |
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| 'The Labyrinth' as painted in 1991 by Leonora Carrington. |
