I ♥ E-Poetry

Leonardo Flores Loves “A(l)lone” by Annie Abrahams
Article in I ♥ E-Poetry

“When I read this poem, I understood that Abrahams was engaging the Web as a medium for artistic expression in a way that some of my favorite poets (E. E. Cummings among them) engaged the space of the page.”

“This poem’s code doesn’t work in my iPhone’s Safari or Chrome browsers, for instance, and I can see how it might disappear from circulation. But I know it can be ported, reproduced, remixed, and written about.”

Leonardo Flores is Ph.D. Associate Professor of English, UPR: Mayagüez and a Fulbright Scholar in Digital Culture, University of Bergen.

If you  ♥ E-Poetry spend some time on this website – it will be worth it.

Filed under: Net art, A(l)lone, all one, e-poetry, Leonardo Flores, media archeology, obsolescence, poetry

Housework, Gender and Subjectivity: Cultures of Domesticity

In  Domestic Dancing (2007) Olia plays the accordeon, while I am vacuumcleaning.

The work from 2007 is presented in

Housework, Gender and Subjectivity: Cultures of Domesticity

Monday, October 29th, 2012 through November

Opening reception, 6:30pm in the Gallery, (on going after the panel)

The Reynolds Gallery, University of the Pacific, Stockton, California

About the Exhibition:

Housework, Gender and Subjectivity: Cultures of Domesticity is an exhibition inspired by the work of feminist media artists working with issues of spectatorship, self, and identity. The exhibit, curated by independent scholar/artist/curator, Molly Hankwitz, focuses upon domestic space as site for the investigation of multiple aspects of gendered subjectivity, from the experience of real women and their performance as spectacularized subjects to notions of women’s place and our response to patriarchal, psychological and social oppression.

Across cultures, the role of the wife, the daughter, and duties of domestic labor within the household from cleaning to cooking to childcare and sex are frequently expected from women. In dominant western media, especially commercial advertising working to maintain a status quo, the stereotype of the perfect “housewife”, her duties and commitment to products remains a powerful ideology despite progress in feminism to speak alternatives. This stereotype has been the object of significant comment and critique for women artists in the history of art.

Housework, Gender and Subjectivity: Cultures of Domesticity brings together a group of contemporary feminist artists who dig into the gendered emotional, experiential and psychosocial domestic realms attached to ‘house’ and idealized versions of womanhood. The artists examine domestic labor and women’s place within it. Guest curator and published feminist, Molly Hankwitz brings together borders and boundaries of domesitc space where the housewife stereotype and the spectacle of domestic labor can be revisited as an art historical idea.

Filed under: Exhibition, Net art, Domestic Dancing, Molly Hankwitz, Reynolds Gallery

LA FIN D’UN MONDE / THE END OF A WORLD

Online exhibition ~ www.LaFiac.com
from October 18, 2012 to December 31, 2012

With Annie Abrahams, Anthony Antonellis, Alain Barthélémy, Laura Brothers, Marco Cardioli, Gregory Chatonsky, Claude Closky, Caroline Delieutraz, Constant Dullaart, Nicolas Frespech, Emilie Gervais & Sarah Weis, Emilio Gomariz, Julien Lacroix, Julien Levesque, Filipe Matos, Albertine Meunier, Lorna Mills, Antoine Moreau, Mouchette, Fabien Mousse, Esteban Ottaso, Rafaël Rozendaal, Nicolas Sassoon, Antoine Schmitt, Nicolas Sordello, Linda Suthiry Suk and Systaime.

The exhibition seeks to highlight Net Art creation, proposing to unite around a common interface different generations of artists who use Internet as a medium.

Artists invited by Caroline Delieutraz and Julien Levesque.

 My participation : La Fin d’un Monde. With : Voices by M. Philippe and Mme. Frédérique Mercy, volunteering firefighters in Delle, who read a text PeurS written by the visitors of bram.org/peur/fear/tentions.php. (Sound engeneering : Rémy Bux. Production : l’Espace multimédia Gantner – Conseil Général du Territoire de Belfort & bram.org.), An image of Rassur, a partcipatif drawing on the wall of my exhibition Training for a Better World Autumn 2011 at CRAC LR Sète.

Filed under: Net art, CRAC LR, Gantner, la fin d'un monde, lafiac.com

IRL SPAMM Waiting

Waiting (before Angry Women take 2) presented in exposition SPAMM, Galleries Brussels, festival Transcultures. (03/05/2012 – 20/05/2012)

Exposition + événements du 03 au 20 mai (Vernissage le 2 mai à 19H). Ouvert de 12h00 à 18h00, fermé le lundi. Entrée: 5 euros.

IRL SPAMM @ GALERIES / TRANSNUMERIQUES #4 / BRUSSELS

Filed under: Exhibition, Net art, angry women, SPAMM

Al(l)one 1998 – ….

Lonely togetherness

http://www.bram.org/beinghuman/alone/allfr.htm (uses popup windows )
and
http://www.bram.org/alone/ (uses popup windows )

Filed under: Net art, all one, alone, lonely togetherness, netart, popup

Separation / Séparation ELC Review

John Zuern on Separation/Séparation in his review Where Are We Now?: Orienteering in the Electronic Literature Collection, Volume 2 for the Electronic Book Review (2011-11-09 ).

“The very first piece in the lineup, Annie Abrahams’ Flash poem “Separation/Séparation,” strikingly emphasizes both the bodily and geographic dimensions of literary creation and reception. Inspired by the author’s experience of repetitive-strain injury, the poem is designed to reinforce ergonomic guidelines aimed at preventing such injuries. Clicking too quickly or forcefully invokes the error message, “You don’t have the right attitude in front of your computer,” and the poem periodically pauses to lead the reader through stress-reduction exercises. While the central focus of Abrahams’ piece is the computer user’s fraught relationship with the machine, by providing English and French versions of the work, Abrahams, a Dutch artist working in France, also underscores the powerful but often under-recognized role of a language – “native,” “national,” “other,” “foreign” – in situating us in relation to whatever we read, even when that situation amounts to a separation due to our inability to comprehend. As do many of the texts in Volume 2, “Separation/Séparation” encodes the coordinates of its creation in the form of the different human languages it engages.”

Filed under: Articles / Texts, Net art, Electronic Book Review, Electronic Literature Collection, John Zuern, Séparation

An ideal of transparent identities – am I dreaming?

When in 1999 I did an IRC web performance called “I only have my name” I wrote : “In real life I have the feeling, that the only thing of me that will never change is my name.  In this project I shared this never-changing element with others, so maybe for the first time I was confronted with the abyss of self.” The project confronted me with some aspects of identity that  puzzled me, maybe even embarrassed me. I was aware and comfortable with my personality being multiple and continuously changing, but online, in this experiment, it became completely  fluid. Afterwards I couldn’t even recognize myself in the four texts written by four different Annies. So, indeed the only stable thing, my name, was something that I probably shared with some other persons somewhere in the world and that could be used by everyone in this online environment. I decided not to play with my name any more.
Nowadays besides my name, I also have a lot of information stocked and restocked in databases on servers all over the world.

“The process of image management on facebook is already less an outpouring of expression than it is an exercise in omission of information about one’s self” Brad Troemel in Why You Should Make Yourself Someone Else Online (page 98), essay no 11 in his book Peer Pressure (I recommend). This phrase from Brad’s essay  perfectly illustrates tendencies commented on by Sherry Turkle in the book Alone Together (I recommend) and made me think about my actual online identity practice.

Somehow I don’t feel misleading search engines and data mining practices by creating different identities or by becoming more opaque is an option for me – by doing so I would also lose a lot: energie, acces to vulnerabilities etc. I rather think the opposite might work. Opening up all kinds of information, becoming as transparent as possible seems a better tactic.
I don’t even understand myself, I hardly know before, when I will do what with whom, and even less what I might think in a few seconds – how could google or any algorithm know? If I don’t want “them” to make me a fixed identity I should give “them” as much information as possible and “they” will be as lost as I am.
For me there is one more argument for total transparence: If I make available enough data, not two computers in the world will show the same search results for my name and so I will have regained my multiple self.
Am I dreaming?

Filed under: Articles / Texts, Net art, Performance, Brad Troemel, I only have my name, sherry Turkle

SuPer Art Modern Museum

Annie Abrahams – Waiting – Before Angry Women Take 2 in SPAMM (SuPer Art Modern Museum), musée virtuel dédiées à l’art numérique / virtual museum dedicated to internet art. Curateurs/curators :  Systaime, Silicon maniacs et/and Thomas Cheneseau.

50 ARTISTS / 50 WORKS

Filed under: Net art, angry women, Silicon maniacs, SPAMM, SuPer Art Modern Museum, Systaime, Thomas Cheneseau

lafiac.com

Avec : Annie Abrahams (bramtv),  Jeremy Bailey,  Alain Barthelemy,  Émilie Brout et Maxime Marion,  Christophe Bruno,  Grégory Chatonsky,  Thomas Cheneseau,  Caroline Delieutraz,  Marco Cadioli,  Petra Cortright,  Constant Dullaart,  Nicolas Frespech,  David Guez,  JODI,  Julien Levesque,  Guthrie Lonergan,  Filipe Matos,  Albertine Meunier,  Microtruc,  Mouchette,  Esteban Ottaso,  Angelo Plessas,  Rafael Rozendaal,  Antoine Schmitt,  Nicolas Sordello,  Systaime,  Protey Temen,  Marc Veyrat et Franck Soudan.

Filed under: Net art, bramtv, Florent di Bartolo, Julien Levesque, la Tapisserie, lafiac.com, Margherita Balzerani

Ne me touchez pas / Don’t touch me (2003)

Ne me touchez pas / Don’t touch me (2003)
included in ELMCIP’s knowledgebase

“The author plays on the apparent incompatibility between narrativity and interactivity to suggest the user to learn to resist his desire to click, but also to apprehend differently the representations – especially online – of the woman body.”
Reviewed by Serge Bouchardon
“L’auteur joue sur l’incompatibilité apparente entre narrativité et interactivité pour suggérer sans doute à l’interacteur d’apprendre à résister à son désir de cliquer, maisaussi à appréhender différemment les représentations – notamment en ligne – du corps féminin.“

Developing a Network-Based Creative Community: Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) is a collaborative research project funded by Humanities in the European Research Area (HERA) JRP for Creativity and Innovation.

Filed under: Articles / Texts, Net art, ELMCIP, interactivity, Serge Bouchardon, touch, toucher