Forthcoming Materials by JL Williams

We asked guest artist JL Williams about the idea of collaboration within her practice and UNFORESEEN. She replied though the language of poetry….

PS: Collaboration is a central theme in UNFORESEEN as it is in your own work. How does this affect your work as a poet?

Forthcoming Materials

In order to interrogate the open, to collect future knowledge,
enter the burning library.

In the thudding heart of uncertainty is the failure of the populace
to overthrow the fact-making of newspapers.

Uncertainty leads to growth.

Independence is every man’s right, the right to be immoral.

The roots of the uncertain extend from the trunk of each problem.

The gift that tears the fabric creates the extravagant open.
Through this tear the uncertain event occurs.

Nothing is ever finished.
Feigning is the truth. The growing tree
lifts its gravestones with it.

Making love is uncertainty, living is uncertainty, fucking is uncertainty.

Your heart resides where the question is conceived.
Electrocution of flesh is the disease.

Desire of workers distracts the listener.
Noise is dust on the glowing screen.

Micronoise. Microinformation. A coating contains memory.

Experience is a cloud of dust.

The future is an anagram of the present.

The specimen is a multichannel environment.

In the future we speak the distorted
echo of the present. This continues to break the infinite cycle.

Poetry and the internet have one purpose: pleasure
provided to the mental foreground.

Our joint mind creates a noise.

The words spoken in the future
are the soundtrack of the present, listen: lit pools of water vibrating with opera singers’ voices, opera singers as angels, a cascading overflow of beauty, layers, exploration of the bodies of the opera singers as they sing, physicality of the body and voice of the opera singer, singers hanging, arced, upside down, lying, in positions, how words affect this – vowels, consonants, moving around a small space where opera singers sing, positions of the singers, positions of the listeners, listeners on beds, listeners moving during the performance, maintaining exquisite notes and altering loudness/quietness, tones, rhythm, music that can make the listener/singer cry, revelation this way, uncertainty, resolution (or lack of) in the listener, the open (leaving it open), honey, flowers, feathers.

The relation between ourselves and the rupture is open.

Naming allows breath.

Classification allows fascism.

As we dance our chemicals leave a rhythmic smear.

Scientists of the future will touch our materials, measure
the chemicals in our blood.

In these photographs I see the dead. In these photographs I see the building of a building whose terraces I walked many years ago on a mission that was destined to fail. The beauty of the building was greater than all others. The child who fails is not the adult who fails.

The ephemeral material of memory has the potential of musical structure.

The circle contains the open.

The women’s pitch is disembodied.

Imagining a beautiful future is creating a beautiful present.

If I care for you I make you.

The transhuman is capable of symphony.

We do the machine in different voices, preserve the disavowal.

To measure impact is to tell the future,
to tell the future is to create fiction.
All art-making is love-making.

You have to do this
chance I never
this moment you begin
impossible to be
either that how
to understand.

To live is to vibrate.
Life is one possibility among many.
Death is unknowable only to the living.

JL Williams October 2014
First published in Alex Hetherington’s Modern Edinburgh Film School Anthology



King’s Stables Road, Hidden Door Festival 2015

Sunday 24 May – Wednesday 27 May @ 1 – 2pm daily

An adventurous, multidiscipline collaboration between musicians, artists, academics and audience. Running concurrently for 4 days during Hidden Door Festival 2015, Edinburgh.

The content and structure of each day will be informed and shaped by the outcomes of the preceding day. Barriers between performer, medium and audience will be challenged, as will the nature and context of collaboration, inspiration, creative methods and time constraints.

The outcome, a complete unknown, will be documented and discussed further to the series of events creating an ongoing process, exploring key themes in the evolution of art and culture at the intersection of sound and sight.

Check out the Facebook event for ongoing updates and info!




martin parker - chair SMALL

Martin is a senior lecturer and program director of the MSc Sound Design program at the University of Edinburgh, artistic director of the Dialogues Experimental Music Festival, and director of outreach at Edinburgh College of Art. He has a PhD in composition and recently used his four month curatorial residency at Talbot Rice Gallery to exhibit ‘gap in the air’ which aimed to bring technicians and curators together with artists and audiences in order to examine the challenge of sound in gallery spaces.



Sunday 24th – Wednesday 27th May



‘I am interested in the ‘thingness’ of things; in the visual vocabularies, narrative qualities and emotive associations of ubiquitous objects.

The interaction between people and material culture has become a recurring area of enquiry in my artistic practice; how we look, how we read visual language, how we make sense of our material world and how the stuff that surrounds us becomes us. I am intrigued by the provenance, meaning and power of objects and by the forces of materialism, marketing, consumerism and obsolescence. Through the language of ‘stuff’ my work attempts to examine the relationship between artist, object and viewer and to challenge the conventional notions of authorship and consumption, thinking, making and creating.’




Charlie is a sonic artist based in Glasgow working on the fringes of house, techno and more abstract sounds. He creates emergent interactive systems that drive DIY modular synths and DSP processing to create immersive audio-visual installations and performances.

He is interested in creating new contexts for experimental sound practices. Through the creation of immersive and interactive audio-visual environments he explores synaesthetic experience, interactive systems and creative multichannel audio diffusion.




By day Martin create user experiences for print and screen. By night he creates interactive audio visual environments/installations that are reactive to sound, incorporating projection mapping.

Martin is currently completing the Design & Digital Arts degree at Napier University. Focusing on the ever developing relationship of design and digital technologies, Design & Digital Arts provides an opportunity to develop skills specifically for the creative industries – building environments both physical and digital, producing design visualisations, challenging preconceptions in developing interfaces and digital environments, creating digitally enhanced propositions for a variety of designed scenarios.



Monday 25th May



JL Williams’ first collection, Condition of Fire (Shearsman, 2011), was inspired by Ovid’s Metamorphoses and a journey to the Aeolian Islands. Her second collection, Locust and Marlin (Shearsman, 2014), explores the idea of home and where we come from, and was nominated for the 2014 Saltire Society Poetry Book of the Year Award.

She has been published in journals including Magma, Stand, Poetry Wales, Edinburgh Review and Fulcrum. Her poetry has been translated into Dutch, Spanish, Polish, French and Greek. She plays in the band Opul and is Programme Manager at the Scottish Poetry Library.



catherine street

Catherine Street’s work consists of layers of experience: she often incorporates her own body into an installation setting that has video, audio, drawn, sculptural, and written elements. The atmosphere is usually unnerving, tense, sensual, comical. Intense breathing sounds give the viewer the feeling of moving inside the lungs, the body’s cavities – whilst her writings often describe a desire to break apart the flesh and return it to its constituent elements.

Street focuses on her body because of its multitudinous natures; on the one hand simply matter subject to physical laws, and on the other a potentially limitless field of meanings: social, political, sexual, spiritual. She pays particular attention to themes of transformation and to the relationship between matter, thought, emotion and sensation.

Catherine Street is an artist based in Edinburgh. She has made work for performance festivals and exhibitions around the world including in Prague, Bergen, Berlin, Wellington and New York. She collaborates widely, maintaining long-standing collaborations with poet JL Williams and with composer and performance-maker Greg Sinclair. Her most recent project is a solo show at the Reid Gallery Glasgow School of Art – on until 30th April. She has contributed to a number of publications, most recently the Modern Edinburgh Film School anthology Queer Information.


Tuesday 26th May


jess ramm

Jessica Ramm gained her BA Hons from Duncan of Jordanstone in 2009 and her MFA Contemporary Practice from Edinburgh College of Art in 2014. Her research consists of a series of ongoing, sometimes haphazard experiments that examine contemporary civilisations ordering of nature through technology and science. Using her body to test the mobility and resistance of matter, she constructs performance videos and sculptural installations that manipulate the environment. Recent exhibitions include: Earth Rise, Tramway, Glasgow (2015); Remote Possibilities, Timespan, Helmsdale (2014); Convocation, Glasgow School of Art (2013); Leave the Capitol, The Fleming Collection, London (2013).


Wednesday 27th May


anne marie

Ann Marie is a contemporary designer jeweller & maker, teacher, lecturer, research fellow, founder & CEO of Anarkik3D Ltd, software developers of award winning haptic 3D modelling software, Anarkik 3D Design. (‘Best Consumer Software’ at the 3DPrintShow Global Awards in 2013 and finalists again in 2014).

Author of ‘Digital Crafts: Industrial Technologies for Applied Artists & Designer Makers’ and a Fellow of the RSA, Ann Marie is passionate about enabling non-CAD using designer markers, 3D artists, applied artists, creative amateurs, hobbyists, & young-uns to engage with 3D digital making using technologies such as 3D printing.

Ann Marie’s company, Anarkik3D, develops haptic (virtual 3D touch) enabled software. Haptics is an emerging technology that enables people to feel digital information.

As part of UK Innovate grant-funded collaborative research project, Ann Marie is currently working on defining the requirements for vivid learning experiences that link directly to the national curriculum, with a particular focus on ‘hard to teach’ topics.

Exploratory Dining


Exploratory Dining 
@ The Home

Centred upon the recognisable symbol of the dinner table ‘Project Space: exploratory dining’ invites you into the Home to experience three courses of culinary inspired events.

Indulge in an immersive ambience of the dining room as situations are displaced through experimentation.