Women, Art and Technology

July 6, 2017
Angry Women II video 27 min in
Women Art and Technology, an exhibition curated by Arterial for Zone and The Waterfront Club. (London)

With also work by Carla Gannis, Emily Lazerwitz, Gretta Louw, Caro Halford and Martha McGuinn.

Arterial thanks Furtherfield and Articurate for their cooperation.

Filed under: Exhibition, networked performance, Video, angry women, art, art and technology, Arterial, The Waterfront Club, women

Ours Lingages

21/07 2017 10.15 PM Performance Ours Lingages
Mosteiro de São Bento da Vitória, Porto.
during the Electronic Literature Organisation conference ELO 2017
Annie Abrahams featured artist
invited by Rui Torres and Sandy Baldwin

Performance in collaboration with Daniel Pinheiro, Isabel Costa, Igor Stromajer, Outranspo (Lily Robert-Foley, Camille Bloomfield, Jonathan Baillehache), Jan de Weille, Rui Torres, Helen Varley Jamieson,  Anna Tolkacheva and the readingclub.

Ours Lingages = a script – online poetry, language learning tools and collective writing + code + voice + dance + text + singing and a blindfold – unrehearsed.

You are welcome online for the associated session of the readingclub, where Helen is expecting you. Duration 30 min. For the complete performance you will have to be in Porto.

Ours Lingages. The internet is my language mother. I speak with a voice that’s not my own, I speak in other voices, not my voice. We are all e-strangers, all nomads that use globish bastard languages. We are the alienated translated (wo)men in-between code and emotion, in-between our wish to be visible and our longing for intimacy. L’entre-deux = void. Can’t we be “with” instead?
Translation is a joy as long as you can accept the imperfections of the result, are willing to learn, to spend time, to pay attention, to take risks and to accept your own incompleteness and glitches. Translation is always failing, faulty, it’s a source for confusion … and discovery. It opens a third language; another in-between, and then a fourth and … Better take nothing for granted and play with it. Be the one not looking at what something is, but at what something can do.
You have to accept (a FEW times). A few times. New language. Let’s try to be “with”.

Filed under: e-literature, Of interest, Performance, Daniel Pinheiro, Electronic Literature Organisation, ELO 2017, Igor Stromajer, Isabel Costa, multilinguism, outranspo, ReadingClub

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.

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, drunken boat, e-stranger, from estranger to e-stranger, outranspo, ReadingClub, unaussprechbarlich

Co-incidences 18 – Yann Le Guennec

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.

Filed under: Articles / Texts, Net art, Of interest, co-incidences, DATABAZ, lieudit.org, Yann Le Guennec

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

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, Ellectra Radikal, Igor Stromajer, SPAMM, spamm_power, Systaime

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.

– Préparation / déroulement du workshop .pdf
– 23 Captures d’écran plus photos sur flickr.
– Exercises – exister 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, école Boulle, cnac, networked performance

An organic acceptance of silence?

;

liminal space – pure motion – an intimate regard – a field of light – dissolved, destabilized – an altered state – a telematic embrace – a silent small reprieve – hanging out with friends – machines conversing across the network only when the noisy humans finally shut up

This was the first time we (Daniel Pinheiro, Lisa Parra and Annie Abrahams) invited people to join us in our online performance experiment Distant Feeling(s) #3. The performance was projected as part of the festival Visions in the Nunnery gallery (London).
After the performance the surprise was great when, in the video, I saw the silent faces of others joining us for a shorter or longer time.

How does it feel to share an interface with eyes closed and no talking?

How did it feel?

When you participated, when you took the time to connect and join, you tried to feel the others and became more and more concentrated on being in a liminal space.

Watching the projection or the video, you could see this concentration, these faces who more and more descended into “pure motion”; these faces that abandonned real space and got elsewhere – you were allowed an intimate “regard”.

Here is my reaction (e-mail to Daniel and Lisa) just after the performance : “Felt “lost” – disturbed by the idea that there were “sneekers, peekers – disturbed also by my own curiosity, by my wish to see who was there and how they looked with closed eyes.
I felt light, as if I were in a field of light, changing, living light, not with human beings, and probably because that frightened me I tried to visualize you both, to imagine, how, where you were, I tried to make something I could understand of what I felt – as if you were familiar to me – I never met you – but still, apparently you became reassuring, close.
When I opened my eyes, everything became normal, just people, nice people around me on a screen. They have become more familiar now too. Looking at the screenshots of this session I feel grateful for their presence (they made the light).
Disolved I felt.
Maybe even empty. Certainly destabilised.
This may sound mystic, but in fact it might have been a very concrete experience – just the light flickering of the in- and out-going participants shimmering through my eyelids provoking an altered state?”

This is Randall Packer‘s reaction to it in a facebook discussion afterwards : “It was wonderfull – Like your work The Kiss, or Paul Sermon’s telematic pieces, the sensation of intimacy is never “real,” it is based on the willingness to believe and to allow closeness to become “real” despite separation. For those who participated in this experiment, it was exactly that: the willingness to suspend one’s belief in the knowledge of the virtual proximity and connectiveness of the others. It is that knowledge that can can be convincing enough to suspend disbelief and thus be silently wrapped in the telematic embrace. This work is a great model for how we might conduct ourselves on the Internet.”

Johannes Birringer on the same occasion. “I was waiting for silence to fall, after the chatter. when it occured, there was no embrace. but a faint sensation of sharing a silent small reprieve, over the constant noise and anger of the world, but an alonesilence as one could not see the others. it is the strangest experience, to be alonesilentblind with assumed others somewhere out there.”

And Nicolaas Schmidt called it “hanging out with friends…”.

Ruth Catlow, who was among the public at the Nunnery remarked : “Was it machine feedback… that mechanical clicking and beeping? The machines conversing across the network only when the noisy humans finally shut up! Like the toys that come alive in the magic toyshop when the children are asleep. I wanted it to get louder and louder till the whole world rang out- WE MACHINES ARE HERE AND WE ARE COMMUNICATING!”
To what Randall reacted : “I love your observation that once the network is silenced of human conversation, all that is left is the hum of networked devices, the “nervous system” of the Net.”

Daniel Pinheiro compiled more reactions on Landproject.

On January 16th 2017, Muriel Piqué watched the video and wrote :
…
Silence / Silence
Je fouille l’image du silence / I explore the image of silence
Des têtes se tournent lentement / Heads turn slowly
8’44 un chien aboie au loin / 8’44 a dog barks far off
Je lis la résistance des corps à l’immobilité / I read the resistance of bodies to immobility
Je ressens l’acceptation organique du silence / I feel the organic acceptance of silence
…

And all the time the machines kept talking, exchanging data, making noise …

Some time ago I watched an interview by Gretta Louw with Sandra Danilovic in Second Life. They talk, among others, about our readiness to relate to an avatar in a bodily and emotional way. Why? Is there an evolutionary base for that? Sandra states, that, in our subconcious, we don’t percieve the self as an atomised individual identity, that precognitively we percieve the environment as a part of ourselves. Would such a thought be helpfull to understand better what happens? And is it true?

Filed under: networked performance, Performance, Daniel Pinheiro, Distant Feelings, Gretta Louw, Johannes Birringer, Lisa Parra, Nicolaas Schmidt, Randall Packer, Ruth Catlow, Sandra Danilovic, silence, the Nunnery, Visions

Stranger Collaborations – London Art Fair.

18 – 22 January 2017,
London Art Fair, the Art Projects Screening Room,
Stranger Collaborations.
Curation Pryle Behrman.

Artists in the show:
Annie Abrahams (Angry Women Take 2), Émilie Brout & Maxime Marion (Glitter), Ruth Catlow (Time Is Speeding Up), Liz Sterry (Drinking Alone) and Michael Szpakowski (Shit Happens in Vegas).

Stranger Collaborations is an exhibition featuring artworks that in some way wouldn’t have been possible without the collaborations formed via the internet, showing how strangers can, sometimes even unknowingly, create an artistic partnership online.

Liz Sterry, ‘Drinking Alone with the Internet, Star Wars Edition, Take 1’.

The artworks of Annie Abrahams and Liz Sterry create temporary communities that are ‘safe spaces’ in which socially-proscribed behaviours – such as public anger or private alcohol consumption – are accepted and even embraced. Mark Westall, short interview of Pryle Behrman in Fadmagazine.

What to see at the London Art Fair 2017? Art Fund_  Jan 11.

Filed under: Exhibition, Video, angry women, Émilie Brout & Maxime Marion, Liz Sterry, London Art Fair, Michael Szpakowski, Pryle Behrman, Ruth Catlow

poésie numérique – OPP*

Retour sur la Master class Poésie numérique (2 nov. 2016) sur le site de lr2l.

Enregistrement sur mixcloud. 1:44:09.

.pdf de la preparation du masterclass
.pdf avec des liens vers les textes produits

Quelques phots :

*OPP = OpenSourcePedagogy

Filed under: Collective writing, Conference / lecture, e-literature, Workshop, LR livre et lecture, master class, OpenSourcePedagogy, poésie numérique, RIRRA21

Distant Feelings #3 – VisionS.

Thursday 24 Nov.
6.30 pm London time, 19h30 Paris time.
Duration 15 min.
Timeconvertor for other places.

To participate Download the zoom.us application https://zoom.us/download – desktop or other devices – and “Join meeting” ID = 630407193: https://zoom.us/j/630407193 .

VisionS in the Nunnery Programme 2 Launch.
Curated by Tessa Garland and Cinzia Cremona.
The Nunnery, 181 Bow Road, London E3 2SJ.
Visions full programme. (5/10 – 18/12 2016)

Lisa Parra in New York, USA,
Daniel Pinheiro in Porto, Portugal and
Annie Abrahams in Montpellier, France
will gather in an online séance trying to experience each other’s presence.

How does it feel to share an interface with eyes closed and no talking?

You can participate in this digital mindfulness experiment.
Download the zoom.us application – desktop or other devices – and “Join meeting” ID = 630407193: https://zoom.us/j/630407193 at the right time.

Some members of the public at the Nunnery will also be able to join in.

The piece presented by Annie Abrahams (Distant Feeling(s) #1) continues the research of an artist who challenges the relational utopias attributed to the internet by creating performances which reveal empty yet precious moments, and the banality of interpersonal relations. The performance links Abrahams to two other artists (Daniel Pinheiro & Lisa Parra); from three different locations the three seek to communicate sensations and emotions. Cinzia Cremona (one of the curators) in ARSHAKE  Oct. 3 2016.

Filed under: Event, networked performance, Performance, Cinzia Cremona, Daniel Pinheiro, digital mindfulness, experiment, Lisa Parra, public participation, telematic feeling, Visions in the Nunnery