…Cet article sera diffractif, multilingue et fondé sur le collage. J’emprunte, je copie. Je ne raconte pas, mais déroule et expose. Comme mes conférences, ma pratique artistique, ma pensée est transversale, interdisciplinaire, non-linéaire et éclectique…
La revue LINKs élargit et enrichit sans cesse le domaine de l’investigation en mêlant actualités scientifiques — phénoménologie, mathématiques, informatique, neurosciences, neurodynamique, théorie des systèmes, théorie des systèmes dynamiques, nanotechnologie, physique, physique quantique, (information quantique, décohérence, perspective bohémienne…), intelligence artificielle, robotique, médecine, biologie, biologie théorique, auto-organisation, systèmes multi-agents — , concepts philosophiques, histoire des idées, et champs artistiques (photographie, cinéma, vidéo, cinéma expérimental, cinéma en réalité virtuelle, net.art, installations, performances, installations interactives, réalité augmentée, mixed reality, bioart, land art, littérature, poésie…) qui conjuguent admirablement dessein épistémologique et souci de la forme. http://links-series.com/ – free pdf
Performance “XD,^_^,:3,:-D” 12/10 18h45 Maison Louis Jouvet / ENSAD, 19 rue Lallemand, Montpellier. Une proposition de 3G(enerations) dans le cadre du festival Magdalena Montpellier*.
XD,^_^,:3,:-D” est un défi presque intenable. Un défi de groupe. Une expérimentation. Comment pendant 15 min. communiquer par le rire? Comment le faire à distance en étant en même temps devant un public dans une salle ? Comment utiliser ce langage commun pour, espérons-le, créer du lien?
3G est un groupe de recherche par la pratique artistique en ligne, constitué de Annie Abrahams, Pascale Barret et Alix Desaubliaux. En 2018 et 2019 le groupe a travaillé sur le projet “Constallations” : Une conversation en forme de 3×3 sessions de désir/tempête/lavage cérébraux en ligne. Pour la performance “XD,^_^,:3,:-D” le groupe invite Alice Lenay, Carin Klonowski et Gwendoline Samidoust, qui ont déjà participé à une session en ligne sur le rire auparavant.
“… plus nous nous faisons face et testons-partageons ensemble, plus nous prenons confiance et enrichissons l’expérience en allant plus loin. Plus on va loin, plus on se met à nu et plus il faut se faire confiance, en réalisant l’effet que le rire peut avoir sur les autres : en riant et essayant de rire, en se forçant à rire, en souriant, en ricanant, en pouffant, en explosant de rire, on se retrouve à envoyer et recevoir beaucoup d’intentions. C’est un rapport frontal et émotionnel avec l'(in)expérience : Il n’y a que le filtre de la spontanéité entre nous et les autres.” Alix 12 03 2019.
Annie Abrahams (1954), artiste et performeuse, étudie les possibilités et les limites de la communication dans les conditions du réseau. Pascale Barret (1975), artiste queer éco-féministe visuelle, sonore et performante, utilise des médias tangibles, virtuels, scientifiques, magiques et historiques pour aborder les problèmes de trans-identités. Alix Desaubliaux (1993) artiste et chercheur, travaille sur la façon dont nous regardons et cohabitons avec des entités numériques, des personnages de fiction et des machines. Alice Lenay est artiste chercheuse. Elle s’intéresse aux apparitions de visages sur écran, la question de la rencontre et de l’être-ensemble au sein des environnements médiatiques. Carin Klonowski est artiste, chercheuse et commissaire d’expositions, qui poursuit son travail de plasticienne et de chercheuse au sein de la Coopérative de recherche, à l’École Supérieure d’Art de Clermont Métropole. Gwendoline Samidoust est plasticienne. Elle s’intéresse via la pratique de l’installation à la question de la construction du regard: des codifications culturelles ou sociales quelles sont les formes qui la prédéterminent, l’enserrent, qu’est ce qui nous permet de voir autrement ?
* 7-12/10 festival Magdalena Montpellier 10/10 14h30 CDN. Table ronde. Entre virtuel et incarné, quelles innovations sociales et écologiques ? Avec Helen Varley Jamieson, Lucille Calmel, Muriel Piqué et Annie Abrahams.
Angry Women Take 1 sera présenté dans l’exposition Hadaly & Sowana, Cyborgs et Sorcières à l’espace Gantner, Bourogne. Vernissage : 12 oct. 17h. Commissaire Cécile Babiole.
L’exposition réunit des artistes qui questionnent les technologies au sens large et leur rapport au corps. Ces artistes, Annie Abrahams, Caroline Delieutraz, Camille Ducellier, Lynn Hershmann, Kaori Kinoshita et Alain della Negra, Albertine Meunier, Julie Morel, Aniara Rodado, Tabita Rezaire, Christine Tamblyn, Suzanne Treister, Stéphane Degoutin, Agathe Joubert, Lola Perez-Guettier et Gwenola Wagon réinventent les figures de la cyborg ou de la sorcière, comme autant de symboles de puissance, de résistance, d’ironie et d’utopie.
Angry Women Take 1 Extrait (6’14”) Avec Annie Abrahams, Lucille Calmel, Julie Chateauvert, Caroline Delieutraz, Suzon Fuks, Helen Varley Jamieson, Inès Kchaou, Ienke Kastelein, Olga Kisseleva, Laurence Moletta et Paula Roush. Angry Women est un projet de Annie Abrahams. Développement interface : Estelle Senay – théatre Paris- La Villette. Assistance technique: Bérénice Belpaire. Co-production : Labomédia Orléans, résidence dans le cadre de Géographies Variables.
Our article The machinic author has been published in the Journal of Creative Writing Studies in a special Issue: Creative Making As Creative Writing.
… an artists’ statement that situates the work in feminist materiality (Barad) Kathi Berens.
“The author is this intra-action itself. The author is not “dead” as such. He has just changed his nature. The machinic author reveals herself as queer.“
Abrahams, Annie and Guez, Emmanuel (2019) ““The machinic author” Artist’s Statement: The Reading Club”, Journal of Creative Writing Studies: Vol. 4: Iss.1, Article 8. ISSN: 2474-2937. Available at: https://scholarworks.rit.edu/jcws/vol4/iss1/8
“We take the Reading Club as an example for how nowadays reading and writing is entangled with machines and software. A real-time language game with a humorously competitive character becomes, through a public act of constructing and deconstructing sense, a creative apparatus. This literary “machine” does not write itself, but makes authors write text in a conversational space full of meanings and emotions. It is a kind of human text generator that challenges the idea of creation and where the authors are, at best, co-creators. Appearing in the 1960s, the “death of the author,” who is not really one, is actually the awareness of the emergence of the machinic author.”
If you are interested in remote collaboration and art you may want to read these. Flaws and possibilities, conditions for participation and audience agency are treated.
Trapped to Reveal – On webcam mediated communication and collaboration. Annie Abrahams, Jar #2 ISSN 2235-0225, 2012. It is about performance, it is about processes and human beings being transformed. Annie Abrahams formulated motives, described means and managed to give this research a succinct philosophical and political background.
Learn together what it means to be connected CyPosium – The Book, 2014, ISBN 9781291988925. Annie Abrahams reflects, referring to Kit Galloway, Gregory Bateson and Susan Kozel on her participation in and the interest and importance of the Cyposium. …we will have to become more radical in our experimentations and start to be more critical towards our own work. We shouldn’t be afraid to operate a ‘niche’, where we are ‘just’ our own audience. It might be a prerequisite for new discoveries, for the creation of a situation where we learn together what it means to be connected...
Preconditions for Online Participation PAIC, 2019. Annie Abrahams finds that an awareness of hardware and software influences, clear and open protocols, familiarization with the technology, an active role and a hospitable environment for the participants are obligatory to allow them to enjoy an aesthetics of attention and trust, where their choices and behavior count.
Distant FeelingS #6, Thursday 26/09 18h30, Video Vortex, Valletta, Malta. Duration 15 min. Online. Open to all. Eyes closed. No talking. Projected in Malta during the opening ceremonies: two onstage participants + a special soundfile: a textcollection of past participant reactions spoken by Ruth Catlow and Marc Garrett.
If you want to join you need to install the zoom application on your device and on the 26th connect at 6:25 pm Paris time to meeting no 3210554238 – find your time here.
Distant FeelingS a series of online webcam meetings trying to experience each other’s presence eyes closed and no talking. Distant FeelingS an ever-changing re-enactment of our intra-action with machines. Distant FeelingS creates an online communality while resisting the speed of daily live and producing uninteresting data for AI?
A project by Annie Abrahams, Lisa Parra and Daniel Pinheiro.
Radio Play invites peers working across disciplines and around the world to share audio work. Tune in to an evening of tricky thinking, new sounds and unlikely connections – including work by Annie Abrahams, Rachael Murray, Paige Silverman and Sleepwalk Collective.
While listening to ConstallationOuverture Rohanne and Paul will (probably) read the Methodology of ConstallationS. ConstallationOuverture Mixage: Annie Abrahams. Voices: Pascale Barret, Alix Desaubliaux, Annie Abrahams. Laughs: Alice Lenay, Gwendoline Samidoust, Alix Desaubliaux, Annie Abrahams and Carin Klonowski. Music: “Ouverture 14” by Jan de Weille. ConstallationOuverture is online here.
Q&A with J.R. Carpenter and Andy Campbell (photo Leonardo Flores – merci)
Recently I did 2 talks at eloCork. The first #PEAE (Participatif Ethology in Artificial Environments) was about my relation to electronic literature and my struggles defining my artworks. In the second Diffractive Reading in the Reading Club, I describe how I became to consider the Reading Club as an example of a diffractive reading practice.
#PEAE, Annie Abrahams, Artist presentation. 15/07/2019 Artists: Forum 1 (12 – 1.30pm), Forum 1A Boole Lecture Theatre 3. Chair: Andrew Klobucar (New Jersey Institute of Technology) Preparation Peae.pdf 10 pages 1.6 Mo
Diffractive Reading in the Reading Club, Annie Abrahams, Paper presentation. 16/07/2019 Short Papers: Section 2 (3.30 – 5.00pm), Section 2B [Re]shaping students, teachers, readers. O’Rahilly Building 156. Chair: Diogo Marques (University of Coimbra) Preparation Diffractive.pdf 7 pages 1.2 Mo
Summary: In this article Annie Abrahams gives a short personal, yet critical overview of her always collaborative and often participatory artistic practice. Based on her experiences she tries to formulate some general preconditions for it to be successful. She finds that an awareness of hardware and software influences, clear and open protocols, familiarisation with the technology, an active role and a hospitable environment for the participants are obligatory to allow them to enjoy an aesthetics of attention and trust, where their choices and behavior count.
Preconditions for Online Participation should have been part of the PAIC (Participatory Arts for Invisible Communities) e-book published in 2018. For internal communication issues too futile and irritating to remember it ended as a not-even-edited blogpost on their website. This was hard, because I had done what was needed, and on time – they had not.
After regurgitating my anger I decided to also publish the article, meant for lay-wo-men, but not only, on my own website and to upload it also to academie.edu. Here you can download a Preconditions of Online Participation.pdf of the article (with images :)).
…When participants connect, they have to find themselves in a hospitable environment. They need to feel welcome. In chatrooms during events for instance, I always ask someone familiar to the project to mediate, to answer questions, to animate, when I cannot do that myself. Participation needs to be rewarding. When an interesting exchange is going on, this can be natural. Sometimes it is already enough to be seen present in a particular public event or to be part of a specific community. Concrete influence or agency by the members of the audience is also very motivating...
On the 20th of June 2019 at 3:30pm (UTC+01:00) during my talk with/in languages – a pretty pathetic @ the Language INTER Networks conference in Lancaster, I danced to Lou Sarabadzic‘s reading of an extract of Hito Steyerl’s International Disco Latin. The text of my talk with/in languages – a pretty pathetic is now available in ZeTMaG numéro 4.2 Langu(ag)e(s)-(E)Space(s).
ZeTMaG, Temporary Zones of Expression, is an open collective non-commercial artistic “organization”, dedicated to experimental creation. Other works by: Jean-Pierre Balpe, Canan Marasligil, Gracia Bejjan, Lou Sarabadzic, Qianxun Chen, Eugenio Tissell, Tanja Vujinovic, Chris Joseph, Natasha Boskic and Mohamad Kebbewar, Mary McDonald, Mez Breeze and Alexandra Saemmer.
