Free Association is a volunteer-run platform for workshops, public programming and publishing through the expanded fields of fiction, poetry, critical theory, philosophy, art and art criticism.


Founder, Programming and Development: Anita Spooner
Producer: Chantelle Mitchell
Media and Communications: Jordana Bragg
Adviser: Josephine Mead
Resident Astrologer and Fantasy Worker: Angelita Biscotti
Designer: Alex Margetic
Web developer: Xavier Connelly


We acknowledge the custodians of the land on which we work, the Wurundjeri people of the Kulin Nation, and pay respect to their Elders, past, present and emerging.

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Intrusive thoughts: the internal monologue of a stressed singularity led by Sam Leiblich

Techno-futurists believe “The Singularity”—when human and artificial intelligence combines to form a world-spanning super-intelligence—is the inevitable next step in the evolution of life on Earth; but what happens when the worldwide super-mind starts spiralling? And what if the singularity is already here and it’s literally just obsessing over whether we’ve all bought toilet paper this week?


This series of workshops will introduce attendees to the thought of John C. Lilley, Ray Kurzweil, and other outsiders and futurists, whom we will read through the work of Jacques Lacan and Sigmund Freud. After establishing a theoretical grounding we will use state-of-the-art machine learning algorithms, and a set of especially adapted writing exercises, to learn to listen—to ourselves and to the algorithm—so that we might predict what comes next. What will it be like when the internet scrolls us? Get ready to see Siri stress the fuck out!

Local and international writing and technology enthusiasts are encouraged to apply.


Application deadline: Midnight, February 10, 2021

Supported by Darebin City Council.

Sam Lieblich is a writer, psychiatrist, and neuroscientist interested in how humans orient themselves in the world, in the poetics of brain-based explanations for human Being, and in our algorithmic selves. He has been published in the Lifted Brow, Overland, Tectonic, the British Journal of Psychiatry, The Australia and New Zealand Journal of Psychiatry, Neurology, No More Poetry, and others. He developed an AI chatbot for the recent ACCAopen exhibition with dancer and choreographer Amrita Hepi. He has also contributed chapters to neuropsychiatry textbooks and teaches at the University of Melbourne.

Think of a mobile: suspended and unsettled, an ending is a beginning. Digital poetry operates like a mobile, a mobile moves like a gif. When we write digital poetry, we are are constructing something that moves across the screen. We want it to loop back over itself, to spin in circles, to end up where it started. Digital poetry is a mobile is a gif.


Making Mobiles is a two-hour gif-making workshop that suspends and loops digital poems. The workshop will equip participants with the skills to bridge poetry and the moving image. The first hour will consist of a presentation on digital mediums, design basics, how to make a gif, and implementing poetry into the moving image. The second hour will put the presentation into practice, asking participants to turn a pre-written poem into a looped gif.

We will present these gif poems across a digital exhibition, inviting you into a room full of mobiles.

Poets from any state or territory in Australia are encouraged to apply.


Application deadline: Midnight, Sunday August 9, 2020
Supported by the City of Melbourne COVID-19 Arts Grants.

Lujayn Hourani is a digital writer, editor and arts worker based in Naarm. Their practice focuses heavily on digital literature – writing it, editing it, and talking about it. Their digital writing has appeared in Meanjin, Overland, The Lifted Brow, Voiceworks, Emerging Writers Festival and Going Down Swinging, among others. They are Online Editor at Voiceworks, work at Next Wave and were previous Online Editor at The Lifted Brow.

This workshop will consider the role of critical art writing in the broader political project of imagining the world otherwise. The workshop understands ‘art’ in its most expanded sense, encompassing both cultural texts and the aesthetic dimension of political experience and subjectivity. Taking Ashon Crawley’s phrase ‘otherwise possibilities’ as a departure point, the three sessions will engage in close readings of recent criticism that reads alongside or through a work of art in order to think about how to transform ways of seeing, being, organising, and resisting.


The sessions will focus on the how political subjectivity is shaped (by race, class, gender, sexuality, nationality, (dis)ability; by access to or distance from networks of care; vulnerability to or protection from the law) and how art is one way of studying the affects and effects associated with becoming a political subject. Close readings will be accompanied by writing exercises that explore different registers and styles and that consider how critical writing can be particularly responsive to the world moment we find ourselves in. The first session will focus on ‘reading’ as an expanded practice that informs writing; the second session will examine ‘writing’ and the process through which an argument emerges through the act of drafting; the final session will look at ‘editing’ and how to edit both one’s own and other people’s writing. Examples of readings include work by Fred Moten, Saidiya Hartman, Evelyn Araluen, Helen Hughes, Andrew Brooks, and Kay Gabriel.

Writers from any state or territory in Australia are encouraged to apply.


Application deadline: Midnight, Sunday August 2, 2020.

Supported by the City of Melbourne COVID-19 Arts Grants.


Astrid Lorange is a writer, artist, and editor who lives and works on unceded Wangal land. She lectures in contemporary theory at UNSW Art & Design. She is one-half of the critical art collective Snack Syndicate and a member of the publishing collective Rosa Press. Her research examines reading as a critical generative practice that offers transformative possibilities for (re)thinking everyday life. In her scholarly and creative work, she analyses modern and contemporary literature and art, and the relationship between cultural texts and social and political structures (gender and sexuality; settler-colonialism and the nation-state; legal and economic systems; infrastructure; labour). Recent publications include Labour and Other Poems (Cordite Books, 2020) and Homework (forthcoming from Discipline).

In a time marked by rage and mourning over recent tragic deaths and ongoing police and state violence against Black and Indigenous people both at home and abroad, this is a writing program for Indigenous poets of Naarm to take stock and respond through the activism of poetry. It is a time for the language of immediacy and urgency; a time to ask: If not now – then when? And, if not you – then who?


The dawn is at hand – Oodgeroo Noonuccal

Three writing workshops will study historical and contemporary examples of poetry of protest and activism ranging from the personal (activism on the home-front, body politics, black bodies, queer bodies and their intersections) to big picture public activism and protest. The curriculum will cover the radical writing of Oodgeroo Noonuccal, Lionel Fogarty, Romaine Moreton, Jack Davis as well as contemporary poets Ellen van Neerven, Alison Whittaker, Evelyn Araleun, Samuel Wagan Watson and more. In this violent rupture we will draw connections across space and time through a reckoning of history; and deconstruction of the colonial mythscape of peaceful settlement and the united nation through the dismantling of colonial relics and a harbouring of future refusals and resistance. From the storytellers and song-makers of ancestry to contemporary protest language, we will look at how activist poetry is deeply localised, personal and highly political, at once.

Twelve First Nations writers will be paid $300 fees to develop a piece of poetry for digital publication on BLINDSIDE and Free Association’s websites.

The program:
Three poetry workshops led by Jeanine Leane covering theory, discussion and practical workshopping
A meeting with a Wurundjeri Elder
An online residency with BLINDSIDE from 22 July – 8 August with editorial support from Jeanine Leane
An online presentation of readings and work in development

This program will take place on the land of the Wurundjeri people of the Kulin Nation. We recognise that sovereignty was never ceded – this land is stolen land. We pay respects to Wurundjeri Elders, past, present and emerging, to the Elders from other communities and to any other Aboriginal or Torres Strait Islanders who might encounter or participate in the program.

First Nations writers and artists from any state or territory are encouraged to apply.

Co-presented by Free Association and BLINDSIDE

The annual BLINDSIDE First Nations Project is supported by the Victorian Government through the City of Melbourne through their Triennial Grants Program. This project is proudly supported by Creative Victoria, the City of Melbourne COVID-19 Arts Grants and Darebin City Council.

Jeanine Leane is a Wiradjuri writer, poet, essayist and academic from southwest New South Wales. Her poetry, short stories and essays have been published in Hecate: An Interdisciplinary Journal of Women’s Liberation, The Journal for the Association European Studies of Australia, Australian Poetry Journal, Antipodes, Sydney Review of Books, Best Australian Poems, Overland and the Australian Book Review. Jeanine has published widely in the area of Aboriginal literature, poetry, writing otherness and creative non-fiction. Her research interests concern the political nature of literary representation, cultural appropriation of minority voices and stories and writing identity and difference.

Time, After Time: A Reenactment Workshop is a free series of lectures, discussions and practical workshops presented by Camila Galaz. Workshop participants will develop new reperformance works to present as part of Channels Festival, the International Biennial of Video Art. Open to emerging artists, writers and filmmakers, participants will consider how reperformance of historical events and reproductions of archival documents can be used to address ideas of cultural memory, inherited trauma, and the complexities of truth-telling.


Exploring the techniques and ethics of moving from the archival to the contemporary, the course will examine the theoretical landscape of historical reperformance, discuss works by video and installation artists such as Renata Poljak, Silvia Kolbowski, Yoshua Okón, and Petrit Halilaj, and develop new reperformance works for public presentation.

Camila Galaz is a visual artist whose practice uses video, drawing, and installation to explore intimate connections to history and resistance. Recent exhibitions include you are the magnet and I am the metal (slowly magnitizdat’, C3 Art Space (2018), Reparar Means to Repair, Blindside (2018); and You Transform Everything into a Boat, Kings Artist Run (2017). In 2018 she presented online projects with Sister Gallery and The Digital Writers’ Festival. She is the recipient of the 2018 MECCA M-Power Scholarship from the National Gallery of Victoria and the 2019-2020 Australia Council EMPAC New York Residency. In 2019 she presented a Writing & Concepts lecture at the NGV entitled Questioning Existence with the Subjunctive (Spanish Demystified). She is also a founding member of the performance art collective The Band Presents (TBP), and co-ran the TBPHQ Art Space in Docklands, Melbourne from 2017-19.

Two headed banner

The Two-Headed Bird: A Surrealist Writing Workshop seeks to unearth the creative potential of the unconscious for the purpose of composition and publication. Presented by Manisha Anjali, the course consists of a series of lectures, discussions and practical exercises on dream work, automatic writing, psychoanalysis and mythology. Students will examine existing surrealist works like William Blake's nightmarish visions, blues folklore, Yoko Ono's instructional pieces, Alejandro Jodorowsky's cinematic lucid dreams and the spiritual revolt of Butoh: a surrealist way to move.


Dream control, psychic automatism and cut-up are tools of illumination. By extracting narratives from the unconscious mind, students will not only be able to maintain a continuous state of inspiration but also evade psychological traps that inhibit creativity like writer’s block, self-criticism and creative boundaries established by traditional forms of composition and editing.

Manisha Anjali is a writer and artist. Her practice is rooted in the language of dreams and exile. Manisha is the author of Electric Lotus (Incendium Radical Library Press, 2019). She has been a recipient of BLINDSIDE’s Regional Arts & Research Residency, a Writer-in-Residence at Incendium Radical Library and a Hot Desk Fellow at The Wheeler Centre. Manisha is the producer of Neptune, an archive of dreams, hallucinations and visions.



Presented by Chantelle Mitchell with readings and performance by Amaara Raheem, Eva Birch and Indiah Money, alongside calligraphy and embroidery tutorials by Angie Pai and family.

Breath Poetics introduces projectvisim as a poetics of embodiment - as a tool for writing the body through the materiality of text. Projective poetry traditions emerged from the Black Mountain School, and were inscribed by Charles Olson in his pamphlet ‘Projective Verse’ from 1951. This public program introduces Projective Verse traditions and practices, and explores the significance of text and language as a poetics of breath, as ‘a high-energy construct and an energy discharge’ and in presenting methodologies to consider and untangle the relation of body to language, and the relation of language to the page.

Aquarius Season Horoscopes by Resident Astrologer and Fantasy Worker Angelita Biscotti

20th Jan: The sun moves into Aquarius at 11.00am on 20th Jan 2021, with Mercury, Saturn & Jupiter still in this sign. A good time for revolutions – loud in the world, or in the privacy of one’s conscience – revolutions with enduring impact. A potent moment for shedding the beliefs that keep you stuck. Remember that big changes only stick when the commitments to higher values manifest in everyday routines. An extraordinary life is the sum of extraordinary days. more


move move move move move and when that has been done, start all over again. the second time over is a re-write. neck open, eyes forward, watch a passing cloud silhouette one thing and then, another. we like to do things in cycles. read read read read and when that has been done, start all over again. the onslaught of quietude sounds like nothing. you can only see it coming. silhouetting one thing as it nears, docking as another. – Lujayn Hourani a hole in the heel of your sock by Lujayn Hourani like a disobedient dog Gates of Heaven by Panda Wong hope wines hope dines Hope 2.0 by Angela Glindemann and looking at divorce rates lately To the Unknown Splendour of Being by Jordana Bragg as the world collapses concave now winter by Rae White the tired fight the corona spite Exhausted from Zeal by Kym Maxwell let moon shine in TV Poem by Hassan Abul misery dream Salmonella Orange DIY Meaning by Isobel Milne_Miso Bell

December horoscope by Resident Astrologer and Fantasy Worker Angelita Biscotti

The sun is in fiery, journey-seeking Sagittarius after a year of forced interiority. Mercury moves into Sagittarius on the 2nd of December, enchanting the sun with its curiosity, capriciousness, and communication savvy. Venus, ruler of pleasure and affection, remains in the confronting depths of Scorpio until it moves into Sagittarius on the 16th. Mars, the planet of courage, erotic passion, ambition and risk-taking, is strong in Aries, and remains secure in its power for the month. The fast-moving, high-impact personal planets are on fire this Sagittarius season. more


Otherwise Possibilities: Coming Soon


Poetry of the Personal and Political: coming soon


Reenactment is often spoken of as a revisiting of history to understand the past through the present. But within contemporary art sometimes reenactment is an aim, sometimes a tool, and sometimes an element within a larger work. Reperformance is proposed as a framework – as a way of approaching the creation of art that looks to use or respond to histories, archives, and other source materials. The works developed and presented were works in progress. Working in this way takes time. Time to unpack and repack, but also to give thought to ethical considerations. All of these works were smaller components to larger research and studio based projects; works within themselves, but also gestures towards broader ideas. – Excerpt from Camila Galaz’ Introduction to Time, After Time


birds, they have two heads sometimes. the two-headed bird sings two songs, one for the dream in which blue flowers bloom from fork tongues of snakes, one for the spirit who can only be seen with the mind, not the eyes. the writer must perform between the dream world and the material world, the space where gods, demons and spirits dwell, the space of unreal deformations and unplanned compositions, the space where surreal things are made. each writer travelled through the unconscious realm and pulled out a motif; practised dream association; undertook automatic writing with burning flames, mirrors and instruments and performed the symbolic slaying of ‘author as god’. these texts were born in a dream. – Manisha Anjali the second contains a hiss the visitor returns. the second contains a hiss my architecture is slipping bodies baking in fires dressed in tišina, wearing selfishness like a pageant sash, sjajna you opened your hand not realising it was connected to your eye feline gold tooth crush i dream of dadi’s paan daan what the stone said rune of ruins grief scapes you are facing an invisible audience the procession moves forth performed before dawn the lifecycle of a perceived nonentity do you know i was born with a tail? ¿bashtak kheshtak-e tou ra gereft-e? it aches in strange rhythms saviiour a plastic disgrace, a fizzing lush bath bomb finding myself neck-deep in the butthole of my subconscious an existential sext bleaching piss?