If you knew the algorithm and fed it back say ten thousand times, each time there'd be a dot somewhere on the screen. You'd never know where to expect the next dot. But gradually you'd start to see this shape, because every dot will be inside the shape of this leaf. It wouldn't be a leaf, it would be a mathematical object. But yes. The unpredictable and the predetermined unfold together to make everything the way it is. It's how nature creates itself, on every scale, the snowflake and the snowstorm. It makes me so happy. To be at the beginning again, knowing almost nothing. People were talking about the end of physics. Relativity and quantum looked as if they were going to clean out the whole problem between them. A theory of everything. But they only explained the very big and the very small. The universe, the elementary particles. The ordinary-sized stuff which is our lives, the things people write poetry about – clouds – daffodils – waterfalls – and what happens in a cup of coffee when the cream goes in – these things are full of mystery, as mysterious to us as the heavens were to the Greeks. We're better at predicting events at the edge of the galaxy or inside the nucleus of an atom than whether it'll rain on auntie's garden party three Sundays from now. Because the problem turns out to be different. We can't even predict the next drip from a dripping tap when it gets irregular. Each drip sets up the conditions for the next, the smallest variation blows prediction apart, and the weather is unpredictable the same way, will always be unpredictable. When you push the numbers through the computer you can see it on the screen. The future is disorder. A door like this has cracked open five or six times since we got up on our hind legs. It's the best possible time to be alive, when almost everything you thought you knew is wrong.

—Tom Stoppard, Arcadia (1993)

Despite my best intentions of routine insomnia, I was awake too late because I fell into a 1990 BBC Radio 3 production of Michael Frayn's Benefactors (1984) which I had never read and barely heard of and if I had a nickel for every play by Michael Frayn which dips in and out of the fourth wall of the timestream as its characters post-mortem how it all went wrong in those complicated spaces between them so many years ago, I still wouldn't be able to afford a cup of coffee at these prices even if I could drink it, but since I've seen two productions of Copenhagen (1998) and heard a third, I still think it's funny. Benefactors is harder-edged as its Brutalist architecture, more pitilessly patterned, the structure of a double-couple farce where the doors all slam with a bleak wince: still a memory play of ideas without answers, still the lacuna of human actions radiating at its heart. "But then you look up on a clear night and you'll see there's only a dusting of light in all creation. It's a dark universe." If I have to be thankful for something at this miserable moment of history, the accessibility of art is a strong contender. Also cats.

I had just been thinking about Jack Shepherd because he was one of the founding members of the Actors' Company which had sparked off in 1972 with Ian McKellen and Edward Petherbridge, whose memoir I was re-reading last night. He'd left the company by the time of their adaptation of R. D. Laing's Knots (1970) and thus does not appear in the 1975 film which seems to have been their only moving picture record, leaving me once again with strictly photographic evidence of this sort of reverse supergroup experiment in democratic theater. (Shepherd at far right resembles a pre-Raphaelite pin-up in jeans, but I like to think if I had Caroline Blakiston's arm round my shoulders I wouldn't look that brooding about it.) Then again, I missed most of his film and famous television work, too: my reaction to his death is derived entirely from his astonishing Renfield in the BBC Count Dracula (1977), who holds more than a candle to the icons of Dwight Frye or Pablo Álvarez Rubio, a heartbreakingly weird and human performance of a character who may not be entirely sane in a world with vampires in it, which doesn't mean he's not to be trusted about them. I loved how much of his lucidity slides between his Victorian hysteria and his careful impersonation of a reformed lunatic which is not always and for good reason convincing. I loved his kiss of Judi Bowker's Mina, not his master's initiatory drink, but a damned soul's benison, the offering of his life. Not just because he became my default horror icon on this site, I thought about him more than any other character from that sometimes surprisingly faithful adaptation. His bare wrists, his shocked hair. His actor had such a knack in the role for the liminal, death seems on some level too definite to believe.