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?
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 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