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All intertextual reading involves a process of traversing through windows and out doors in the same ways in which electronically generated hotlinks usher readers from one space to the next ...

Each new space offers new a variety of views and changes in light and atmosphere. As works transmute into something new, play is established, and contexts shift and change, to varying degrees. Readers arrive on landings, at passages leading to the cells of released prisoners ...

The doors they try ... open onto rooms which may have been unoccupied for years, except by their wire stretchers,

and chests, and the corpses of moths;

till in the last, the most imposing cell, intended for more important or semi-responsible inmates, they might find signs of life ...

a few visible possessions such as ground-down, yellow-bristled hair-brushes, a hare's foot stained brown, the framed snapshot of two figures enlaced against an empty bandstand, in front of an expanse of white sea ...

The intertextualities and inter-images form and re-form ...
Arriving at
interpretations is
not the aim which is
moving
continually,
like

a telescope,
or binoculars, or
something else
that will shatter
everything into a kaleidoscope of (inter)textual
fragments ...

When reading art the journey is everything ... it is the spaces

explored

during reading that are
my interest; and
the desire to create
theories
and methodologies in which
reading intertextually
and inter-imagically
might be
both described and experienced ...