Site-Writing

There’s Sand in My Infinity Pool (2017)
  • William Jamieson | Singapore

  • Tuas Port reclamation stockpile, 2019. Photograph: William Jamieson. Tuas View migrant worker dormitory and adjacent reclamation, 2019. Photograph: William Jamieson.
 Tuas port reclamation, 2019. Photograph: William Jamieson. Tuas View reclamation, 2019. Photograph: William Jamieson.
  • ‘There’s Sand in My Infinity Pool’ explores land reclamation in Singapore as a speculative material and cultural practice. Typically presented as either a practical engineering feat or an ecologically disastrous approach to coastal development, the significance of land reclamation in the cultural formation of identity and landscape has yet to be addressed. Given the ongoing and speculative nature of land reclamation, this practice-led research seeks to position land reclamation as a form of writing to identify the rewritten boundaries of memory and identity, unearthing the unacknowledged implications of land reclamation as a material and cultural practice in the formation of national identity. Sourced from interviews, ethnographic accounts, and autoethnography, the narratives examine what it means to live with and through land reclamation.


    Biography:

    William Jamieson is a PhD candidate in Geography at Royal Holloway, University of London. His work is concerned with the integration of political geography and literary theory through critical creative writing methods to enhance our understanding of how space is ‘read’ and ‘written’ by capital. His project concerns dynamics of land reclamation in Singapore and sand extraction across Southeast Asia. He took the Site-Writing module as part of the MSc in Urban Studies. His fiction has appeared in Ambit and The Evergreen Review, and other writing about Singapore has appeared in Failed Architecture. His fiction pamphlet, Thirst for Sand, was published by Goldsmiths Press in 2019.


    Practices:

    Site-writing allowed me to write for real – that is, write in a way that attempted to encounter the world, which is still very much an ongoing and everyday attempt. While my practice has remained textual, for the most part, the objects and modes of relation it tries to bring into correspondence are anything but. In trying to fashion a frame through which materials may appear to speak for themselves or others, site-writing has provided an invaluable grammar for doing so in a way that registers the ethical stakes of those encounters, and (hopefully) makes something of them.


    Keywords:
    Fiction, land reclamation, landscape, national identity, Singapore, modernity

    References:

    Tan Pin Pin, To Singapore with Love, 2013, Singapore. (Film).

    Charles Lim Yi Yong, SEA STATE, 2005 – Present, Singapore (art works)

    David Jones, The Anathemata, 1952, London. (Poetry/novel)


    Other projects:
  • City Embers (2020)
  • What Remains (2019)
  • Situated Writing as Theory and Method (2019)
  • Parts Apart Read Together (2019)
  • Fields of Awareness, (2019, 3min 18 secs)
  • 21 Orientations: An Atlas of Geographic Promiscuity (2019)
  • The Windowless Hotel Room (2018)
  • Shared Remains (April 2018)
  • Soft Landing (2018)
  • Spaces of Grief (2018)
  • Metropolitan Salem, Liuerpul (9 June – 18 August 2018)
  • Things Come Apart (21 – 24 March 2018)
  • Learn to Read Differently (2018)
  • Il Balcone. A site-writing performance (2018)
  • History begins with the vanity of kings (2018)
  • Dear Mr. Jung: Inhabiting Carl Jung’s ‘The Red Book’ (May 2018)
  • Heaton Hall: A Palimpsest (2017)
  • Location (+) (2017)
  • There’s Sand in My Infinity Pool (2017)
  • Talking Quilts (April 2017)
  • fifteen ways to cross the desert (2017)
  • Between Landscape and Confinement: Situating the Writings of Mary Wollstonecraft (2017)
  • A Ficto-Historical Theory of the London Underground (2017)
  • The Glorious Tomb to the Memory of Nothing (2016)
  • The Arrival’s Reader; A Visual Literary Criticism on The Arrival by Shaun Tan (2016)
  • Reading as Art (27 August-19 November 2016)
  • Re: development (London: Silent Grid, 2016)
  • Kjemikerens død [The Death of the Chemist] (23 – 26 May 2016)
  • Kingsland High Street (2016)
  • Foray in a Modern Reserve: An Impounding Portrait of Landuse (2016 – 2018)
  • Fall of the Derwent (2016)
  • Away from Home – Home from Away (April 2016)
  • Penguin Pool (2015)
  • Geography Lessons: Liberian Landmarks 1953-2013 (2015)
  • Women’s Anarchist Nuisance Café (2014)
  • The Writing on the Wall (after Rembrandt) (2014)
  • The Italic I (2014)
  • Designing Architecture as a Performing-Ground (2014)
  • Urban Literacy (2013/2014/2016)
  • The Disappearance: Manfredo Tafuri’s The Sphere and the Labyrinth (April 2013)
  • Folded Ground: Escape from Cape Town (2013)
  • Phantom Railings (2012 – 2017)
  • In The Emptiness Between Them (2012)
  • 10/08/12 (multispecies event) (2012)
  • An Arcades Project (2011)
  • Tideline (2010-2012)
  • The Museum of Breath (2010)
  • Slab (2010)
  • One wound. Two wounds. The body as site for writing (2010)
  • The Fluid Pavement and Other Stories on Growing Old (2006)
  • Back to Top