net art, video, performance

Annie Abrahams

Meeting Outranspo

Outranspo (Ouvroir de translation potencial) is a motley group of multilingual translators, writers, researchers and musicians who joyously devote themselves to creative approaches to translation. More information here.

Last Friday they invited me to one of their monthly online meetings.

I did a short introduction to my from estranger to e-stranger book (available as .pdf and as paperback), read some fragments from it and then we went to the ReadingClub.

outranspoBulb

First session : 10 minutes – 3 authors – colors.
Result:
Galvin <3, Mistère and a Volga boatman
http://readingclub.fr/pad/58de383953621f374d000003

(please wait a few sec before pushing the arrow – the timeline needs to be loaded)

Second session : 10 minutes – 3 authors –  no colors.
Result:
Kein …. recul, keine Ablösragung
http://readingclub.fr/pad/58de3a6553621f374d00000

Outranspo discovered how, in this interface, an imposed limited number of characters influences the collective reading / writing experience. In the ReadingClub you have to erase to continue to write – in the ReadingClub you are collaborating and fighting at the same time.

Afterwards Chris remarked: “It changes how we relate to writing in time. Instead of seeing writing as an end result you can see it as a permanent present.”
.

(: Outranspo told me I am Outranspo by anticipation. :)

Filed under: Collective writing, Event, , , , , ,

Co-incidences 18 – Yann Le Guennec

page20-21

Yann Le Guennec.
Co-incidences no 18.
Revue d’arts et créations.
ISBN 9781326828899

Avec :

Sylvie Bourguet, Annie Abrahams, Olivier Auber, Ann Guillaume, Antoine Moreau, Laurent Neyssensas.

p 41 – 50 version spéciale “who’s afraid of ? La vie en intelligence collective” – les archives – une pièce de théâtre en deux actes d’après un échange émail de 2005 entre les membres du groupe Lieudit.

Vous pouvez acheter Co-incidences 18 en version papier ou le regarder en ligne.

Je suis fière d’avoir participé à ce beau numéro qui rend hommage a cet artiste intéressant disparu trop tôt.

page50-51

Filed under: Articles / Texts, Net art, Of interest, , , ,

ϟℙ∀ℳℳ▁ℙϴШ€ℜ – Beyond (spectacle) – test – glitched

SPAMMbeyondGlitch

ϟℙ∀ℳℳ▁ℙϴШ€ℜ

SPAMM_POWER

Curators : Ellectra Radikal & Systaime

ϟℙ∀ℳℳ is a virtual online museum dedicated to digital arts and emerging cultures.

BEYOND (SPECTACLE) – TEST GLITCHED
Original performance test with Igor Stromajer.
Performance Writing Weekend – ELMCIP Seminar 2012 – Arnolfini Bristol.

Filed under: Exhibition, Net art, , , , ,

workshop + conférence au CNAC

22-24/03 2017 Workshop Performance en Réseau – Introduction au Centre National des Arts du Cirque à Châlons en Champagne. Avec les étudiants de l’Ecole Boulle en DSAA1 Événementiel et médiation et les étudiants de la 30ème promotion du CNAC.
cnacCirqueDouble

Préparation / déroulement du workshop .pdf
23 Captures d’écran plus photos sur flickr.
Exercisesexister en double – toucher à distance – coördination – jouer la taille – le rapport – le monstre – la rencontre (ou pas) – disposition, abstraction, rhytme, mouvement de la webcam.

Exercice : deux webcams et un objet en mouvement.

23/03 2017 18h00. Conférence au CNAC
La beauté dans l’erreur ? – Oser le désaccord et la contradiction !
Qu’est-ce qu’une performance dématérialisée ? Est-ce que cela existe ? En montrant des exemples comme Angry Women et Angry Men, Annie Abrahams parlera des ses spécificités. Elle abordera le rôle du corps en ligne. Elle crée un espace liminal d’expérimentations, de rencontres, un espace intime, presque vierge, un ailleurs pour découvrir un mouvement pur. Le travail d’Annie Abrahams se base sur une esthétique de l’attention et de la confiance. Il dévoile ce qui est caché et met en avant ce qu’on n’a pas envie de voir. Annie Abrahams revendique la beauté de l’erreur et de la maladresse.
C’est une position politique, une opposition, un contre, mais aussi une réparation, une restauration, une correction, une thérapie, une cure, un antidote.
Que pourrait être un tel approche dans un environnement, ici au CNAC, où l’erreur peut être fatal et la maladresse un outil ? Nous allons essayer d’y réfléchir ensemble.

Preparation de la conférence performée .pdf

Vidéo d’un moment très spécial de cette conférence – lecture sur l’intra-action (Karen Barad)

Merci A Cyril Thomas, Claire Brisson et Eric Dubois pour l’invitation et la confiance.

Filed under: Conference / lecture, Performance, Workshop, , ,

L’Entrelangue

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28/03 2017 18h – 19h30.
L’Entrelangue
Rencontre Artistique de Librancrage.
Annie Abrahams et Lily Robert-Foley.
Gazette Café, Montpellier. 28/03 2017 18h.

l’estranger et l’e-stranger, la traduction queere, la langue materpaternelle, le tiers texte – une transformance

Lily Robert-Foley is Associate Professor of Translation Studies at the University of Paul-Valéry Montpellier 3. She is the author of Jiji, a book of prose poems and conceptual writing (Omnia Vanitas Press, 2016), Money, Math and Measure (Essay Press chapbook series, 2016) m, a book of poetry-critique-collage (Corrupt Press, 2013), and graphemachine, a chapbook of visual poetry (Xerolage, 2013). Her translation of Sophie Loizeau’s La Chambre sous le saule (The Room under the Willow Tree), is coming out this year from To press. She is is a member of Outranspo, an international group of experimental translators.

waouououhhhhhh – parlé, chanté, joué, lu, répondu, questionné, crié, pianoté, imité, mimé – waouououhhhhhh

10 images de la soirée sur flickr
2 minutes du début en vidéo
le script d’Annie en .pdf

“Nous sommes complexes, des hommes traduits, nous connaissons a silent period, notre littérature est une littérature mineure, nous aimons le post-monolingual, nous sommes een vreemde in eigen land, nous sommes les brisées, les aliénés, les entre-deux…..,
mais,
nous sommes plus durs et plus fragiles en même temps, nous n’avons pas une seule langue, nous comprenons le texte tiers, nous sommes plus résilientes, plus inventives, nous n’appartenons à rien et personne, nulle peut exiger quoi que ce soit de nous.
Notre langue est libre.

Il est possible de gagner quelque chose dans la traduction.
Vous devez accepter (PLUSIEURS fois) un nouveau langage.”

Qu’est-ce que c’est une transformance? Nous allons y répondre.

Filed under: Conference / lecture, , , ,

Avantgarde, theatre and all the rest

XXIIImfspin_baner_1000x300.
March 19, at 1 p.m.

Powszechny Theatre
21 Legionów Street
91-069 Łódź
.

Avantgarde, theatre and all the rest
The seminar will take up the issue of the avantgarde transformation from its historical origins to the present. The participants will ask how important the Internet and cyberspace are for the theatre and performance art. Social and political potential of today’s theatre will also be discussed.

With:
Annie Abrahams
(living in France), a Dutch performance artist creating her projects on the Internet. (My preparation .pdf  or .html)
Grzegorz Laszuk, the leader of the formation of alternative theater Commune Otwock, nowadays – the Commune/Warsaw.
Izabella Pluta (working in Switzerland and France), a researcher on how the modern theatre is transformed under the influence of new media.
Ewa Wojtowicz, the author of books about art on the Internet and the latest artistic post-media trends.
Ryszard W. Kluszczyński, a researcher on the contemporary art, in particular new media art.

In the frame of the  XXII International Festival of Plays Pleasant and Unpleasant.

Filed under: Conference / lecture, , ,

Agency Art II

collectively made, refusing hierarchy, a knitting together of artists and performers in the moment of the event, erasure of the artistic ego, practice, changing rules, choices, connecting, accepting the unexpected, responsive, shared, collaboratively authored, open to all, working with temporal behavioral phenomena, healing, enactment, improvised, including environmental conditions, attentional strategies, instructions, protocols, apparatus, meeting, embracing the ordinary, rehearsing alternatives, re-hijacking therapy, exercising our relations to others, our social (in)capacities, exploring rituals, being together, participatory,
concerns individuals and politics

aa3

Agency Art seems to be a difficult term: too much bad feelings go with the word (NSA) ; too similar sounding to Art Agency, and so it triggers thoughts about commerce. Still I want to persevere. For years I used silently the term “behavioural art” to think about what I was doing – silently yes, because for someone trained in biology “behavioural” is a stained word. It turned out that for others “agency” is just as stained. But for me it’s  an empowering word, referring to Butler, ANT theory and Karen Barad.

Agency Art is beyond disciplines. It’s a point of view, an anchor point from where to think critically about (my) artistic practices.

Let me try, while forgetting temporarily all the theoretical implications, to mention a few projects, I would like to name of Agency Art : Darren O’Donnell‘s social theater works and his book Social Acupuncture which argues for an aesthetics of civic engagement, Miranda July‘s work Somebody, where text messages are delivered by a real person. Félix González-Torres Untitled (Portrait of Ross in L.A.) a 175 pound-pile of candy, from which visitors are encouraged to take samples, Eduardo Kac’s Darker than Night and Teleporting an Unknown State 1994/96, Marina Abramović: The Artist Is Present and 512 hours, where the public became the performing body, Yoko Ono‘s Cut piece, Gego‘s work on networks and space and a lot of Lygia Clark‘s multi-sensory participative work.

gegoretiulareafg-01126-ao-700x372 Gego, Reticulárea. 1981.

To find keywords for Agency Art I choose some specific examples (from fine art, dance, theater, music, performance, digital art and electronic poetry) : Deufert&Plischke’s work, LaBeouf, Rönkkö & Turner’s HEWILLNOTDIVIDE.US, Building Conversation by Lotte van den Berg, Deep listening by Pauline Oliveros, Poietic Generator by Olivier Auber, Lingua Ignota by Samantha Gorman and Walking Practices by Ienke Kastelein. (more info on each piece at the bottom of this post)

Why didn’t I include a relational aesthetic artists as for instance Rirkit Tiravanija who initiates ways to enable the public to be a part of the art-making process?
Because the public can’t make choices in his work – it is like a staged environment, which needs these people to make it alive, but does not give them any agency – they are not challenged to make choices besides being there or not being there.

Agency Art is art that makes it clear to the receiver via his or her body what is at stake, where opportunities for action lie, and which virtual* behaviours he or she can actualize. It demonstrates how choices work, and how to create patterns that retain their coherence while you remain part of them and transform when you move within their field of action. (* virtual understood as potentiality, not as a quality or in a re-presentable way) Mulder 2012.
(This refers to my first post on Agency Art.)

Agency Art is made of interaction, but should be constructed, looked at with intra-active glasses.
(This refers to a post on inter-intra-action.)

I still need to read a bit on Latour :) before I can write something about the many definitions, different, but related, takes on agency. Gell, Barad, Spinoza, Butler …

Read the rest of this entry »

Filed under: Articles / Texts, Of interest, , , , , , , ,

inter – intra – action (fr)

Depuis quelques temps j’essaie de réfléchir sur un nouveau concept: Agency Art, que j’ai découvert dans un texte d’Arjen Mulder de 2012.
J’aime beaucoup cette notion, parce que elle ne prend pas un medium, ou une technologie comme point de départ, mais met en avant ce que celles-ci rendent possible. C’est un art qui s’ancre dans les choix comportementaux, dans les gestes. Son sens est les actions rendus possibles. J’ai écrit un billet qui en parle plus amplement. (en anglais)

interintra

Mulder intègre ses idées dans l’histoire. Il remonte vers des penseurs comme Spinoza, Shannon, Wiener, MacKay, McLuhan, Cassirer, Langer, Gell, Latour, Heidegger, Derrida, Badiou, Rancière, Danto, Whitehead, Steiner, Rolnik et encore d’autres.

Dans mes tentatives de mieux comprendre ce que ce concept pourrait apporter à ma propre pratique artistique je lis des entretiens (en anglais) avec Karen Barad une physicienne et féministe américaine qui parle d’un autre concept nouveau pour moi: l’intra-action.
Dans les années 90 du siècle dernier le mot interaction était un mot clef pour analyser mes œuvres en hypertext. Peut être aujourd’hui l’intra-action peut m’aider à mieux réfléchir mes travaux de performance collaborative où il n’est pas vraiment clair ce qui provoque quoi, où se trouve l’agence – ne pas entre les entités clairement distinctes, mais venant de l’intérieur d’un tout, où les conditions du serveur, les ordinateurs individuels, les différents webcams et périphériques sonores, ainsi que les voix et les images des co-performeurs, les conditions d’éclairage locales et les situations familiales sont toutes enchevêtrées dans ce que Barad appellerait un phénomène.

L’intra-action (en opposition à interaction), un néologisme introduit par Barad, représente un profond tournant conceptuel dans les métaphysiques individualistes. Pour Barad, les choses et les objets ne précèdent pas leur interaction, mais plutôt, les « objets émergent à travers des intra-actions particulières ». Source Wikipedia.fr

Ce n’est pas simple du tout de comprendre les idées de Barad. J’étais contente de trouver une vidéo qui semblait l’expliquer simplement et puis je l’ai transcrit et j’ai essayé de traduire ce texte en français. (voir en bas) Tout ça pour me rendre compte que je n’en ai toujours qu’une compréhension superficielle. Ce n’est pas grave. Barad se base sur la théorie quantique et des pensées de Bohr, Butler, Harraway et Foucault. Je leur prendrai des  termes comme phenomenon, agency, apparatus et intra-action. Ils vont ré-apparaître.

Video Written & Created by: Stacey Kerr, Erin Adams, & Beth Pittard

La transcription / traduction du texte de la vidéo: Read the rest of this entry »

Filed under: Of interest, , , , , , , ,

inter – intra – action (Eng)

Interaction was the word I used 20 years ago when I talked about my work in hypertext. Today I need other words: one word, I already wrote about it in my last post, is Agency Art. Another might be Intra-action. I first met it in Mousse magazine #34 (2012), pp.76–81: “Intra-actions” – Interview of Karen Barad by Adam Kleinmann. You can download the interview here.

This word could be usefull to analyze my works of collaborative performance art, as for instance Angry Women, where it is not really clear what is causing what, where the agency is – not between clearly distinguisable entities, but coming from within a whole, where server conditions, individual computers, webcam and sound devices, as well as the voices and images of the co-performers, local light conditions and family situations are all entangled in what Barad would call the phenomenon.
Barad uses quantum physics to articulate a feminist view on the philosophy of science. She builds on Donna Harraway and Niels Bohr. It is not easy to understand her and I was happy to find this video that seemed quit clear.

Video Written & Created by: Stacey Kerr, Erin Adams, & Beth Pittard

But when I transcribed the spoken text, I gathered my understanding might be superficial. Concepts like phenomenon, agency, apparatus all mean something different in different contexts. And when I read in the English wikipedia: “For Barad, things or objects do not precede their interaction, rather, ‘objects’ emerge through particular intra-actions. Thus, apparatuses, which produce phenomena, are not assemblages of humans and nonhumans (as in actor-network theory). Rather, they are the condition of possibility of ‘humans’ and ‘non-humans’, not merely as ideational concepts, but in their materiality.”, I was sure I wasn’t completely getting it (yet) – to be continued.
I feel intra-action will give me a clue on why Agency Art is something not popular in the humanities, in media art etc. (yet).
Here is the transcription of the video:

Read the rest of this entry »

Filed under: Articles / Texts, Of interest, , , , , , , ,

Agency Art.

trustattentionbis

Agency Art is art that makes it clear to the receiver via his or her body what is at stake, where opportunities for action lie, and which virtual behaviours he or she can actualize. It demonstrates how choices work, and how to create patterns that retain their coherence while you remain part of them and transform when you move within their field of action.

I have been reading Arjen Mulder‘s* article THE BEAUTY OF AGENCY ART, and I recommand it strongly. (You can download the article on academia.edu, read it in the book Vital Beauty, V2_Publishing (2012) or download it here.)

Often, when I talk about my artistic work I tell it’s using behaviour as it’s material and builds on an aesthetic of trust and attention. Sometimes people ask me what I mean by that.

I then tell them that in Being Human / Etant Humain (1997 / 2007) I was more interesting in creating the field, the network of choices in the  html page, than in the multimedia side of it. I told them I saw the works as low-tech mood mutators and interrogations on communication. I didn’t want the work to be immersive. And in my later online performance art projects (Huis Clos / No Exit, Angry Women, besides,, Distant Feeling(s)) I use strict protocols, which strangely leave a lot of freedom to the performers, so we – and they also – can reflect on their behaviour.

Attention and trust are requisites for this to happen and necessities when taking distance of the feelings provoked to appreciate its aesthetics.

Agency Art gives me a new terminology that might help me think these ideas further – I like the word because it doesn’t take any technology or medium as it’s starting point, but puts what these make possible in the foreground. It is art that has behavioural choices, gestures as it’s anchor points. Its meaning is the acts made possible.

The significance of Agency Art is related to a concept called “virtual behavioural space”. This concept is an extension of the concept of “virtual feeling” that Susanne K. Langer in Feeling and Form (1953) introduced. Each individual art medium evokes, manipulates and investigates “virtual feelings” in its own way.
A painting calls forth virtual depth with lines and colours; a sculpture constructs a virtual volume around itself; a novel constitutes virtual memory, tracked through virtual time. Dance follows virtual forces of attraction and repulsion. All the experiences that are part of this “feeling” are spaces of possibility, virtual feelings waiting for actualization; their nature, allurements and dangers must be studied, and art is where this investigation takes place.

.
Why no-one else took to using Agency Art? Mulder embeds his ideas in history, goes back to thinkers as Shannon, Wiener, MacKay, McLuhan, Cassirer, Langer, Gell, Latour, Heidegger, Derrida, Badiou, Rancière, Danto, Whitehead, Steiner, Rolnik and others.
Maybe because his writing was too diffracted at the moment of publishing?
.

Diffraction is meant to disrupt linear and fixed causalities, and to work toward ‘‘more promising interference patterns’’. This can be practiced by reading texts through one another, and rewriting. It disrupts the temporality of a piece of writing, transverses boundaries such as discipline, and can change meanings in different contexts opening up meaning. Iris van der Tuin on wikispaces.com.

More on diffractive reading and writing in Matter feels, converses, suffers, desires, yearns and remembersan Interview with Karen Barad by Rick Dolphijn and Iris van der Tuin (2009).
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*Already in 2005 I read Understanding Media Theory (2004) a book by Mulder (also available on academia.edu). I was influenced by his thoughts. Ik heb ook zijn boek De vrouw voor wie Cesare Pavese zelfmoord pleegde (2004) gelezen. Ik ben ook een fan van Pavese.*

Filed under: Articles / Texts, Of interest, , , , , , , , , , , ,

Upcoming

* 13/05 2017 18h Paris time, Networked conversation with Randall Packer in the Third Space Network.
* 18/06 2017 11h. Talk Networked performance art and engagement, Internet, Arte y Compromiso, Centre Culturel Puertas de Castilla (Murcia).
* 19/06 2017 20h30. Une pratique du texte numérique qui dévoile. Invitation Yan Rucar, Centre culturel international de Cerisy-la-Salle.
* 21/07 10PM Performance Ours Lingages, ELO 2017, Mosteiro de São Bento da Vitória, Porto.

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