net art, video, performance

Annie Abrahams

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.

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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?
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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.*

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