I love the way the experimental conversation (interactive, generative) for which Naoto Hieda invited me evolves. He uses keywords and hashtags in what looks like a simple hypertext structure, but actually is based on code and javascript.
We started with #anders, #contrainte and #error. The conversation is ongoing. memoires.glitch.me
This is an image Naoto made after I had send him a photo and a short story.The photo made him think of something romantic, maybe a Monet image. He wrote: “Then I thought about generating an image using an algorithmic model but I stopped because I hate AI generated images. They lack imagination. Instead I made a small program to generate another reality of the photo, which doesn’t look like Monet but it is some thing.” And he also send a link to the code he used: https://editor.p5js.org/micuat/sketches/alaRE_uCJ
Attentionsss An online textual session by Constallationsss A methodological and theoretical attunement of the evening
12/07/2021 18h30 – 23h DIVADLO X10 Charvátova 10/39, Praha 1, 110 00 𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝘁𝗶𝗼𝗻: Nultý bod – Zero point festival, Montag Modus – Y-Events series
Photos Libor Galia (c) @Nultý bod a Y Events
A reariting of extracts from Yves Citton’s “The Ecology of Attention”. Anarchives (Notes, video, images)
“The third characteristic phenomenon of joint attention situations is therefore to be found in the IMPROVISATION PRACTICES that they necessarily call for: showing yourself to be attentive to the attention of the other requires learning to get out of pre-programmed routines, so you can open yourself to the risks (and techniques) of improvisation. Everyone knows how to improvise, because everyone has learned to participate in a conversation – where no one knows in advance what their interlocutors are going to say.” Extract from The Ecology of Attention, Yves Citton, 2017 ISBN: 978-1-509-50373-5
July 1 19:30-21 CEST presentation by Annie Abrahams of Alcho a performative algorithm as part of the launch of the collective publication of Alchorisma.
Z33 and Constant invite you to this launch. There will be three live interventions customized to the setting of the launch. Anne-Laure Buisson will present the Celtic Map of Trees, Annie Abrahams will present Alcho and there will be one surprise act!
If you missed the performance of Alcho and are interested, please read the meta-instructions and contact me privately to get a re-enactment.
My question: “Is it possible to create an algorithm that includes human behaviour, that evolves over time and in the process integrates aspects of the personalities of all the participating individuals?” Because there are humans involved I thinks the project will probably turn out to be an erratic, iterative, evolving, experiential happening. I am interested in the written traces; in the written instruction sets, as markers of the evolving ‘Alcho’ processed through humans by writing and performing.
Angry Women is an artistic research project started in 2011: *on remote communication and collaboration using anger as a pretext *on female anger using webcam performances as a facilitator
The performance has been be prepared in a 90 min workshop a few days before. A “choir” full of individual voices and actions where there is room for solos, duos and silence, where group dynamics will be as important as the revelation of female anger and irritations. No rehearsals, but risks and trust and attention.
Bodies:On:Live is affiliated with The Magdalena Project, a dynamic, intergenerational and cross-cultural network for women in contemporary theatre and performance. In 35+ years of activities, there have been over 100 Magdalena festivals and gatherings in more than 20 countries.
Utterings Panel: Toward a Supra-Semiotic Telepresent Communication. May 26th 2021 14h30 Paris time. Members of our group will collectively discuss what we have pragmatically learned and experienced in our performance research thus far. During the panel we make a writing pad available, where the audience can collectively read and write their thoughts on utterings as a communication form. Utterings will join and continue the discussion on the writing pad in the last part of the panel.
panel starts at 5 min.
Utterings is a networked performance and research group whose members gather online and, while blindfolded, engage in utterings as communication. We want to create an on the fly “new” language, that forwards attention, trust and feelings, above rationality. Put another way, we seek to develop a shared, experiential, supra-semiotic form of communication based on our ongoing performance history with each other. Michael Bakhtin’s concept of the “utterance event” as a node of intersection between lived, present-tense communication and atemporal, semiotic meaning has informed our research. Over the past year, we have enacted eight performances online “at” festivals “in” Nantes (France), Birmingham (UK), Linz (Austria), and London (UK).
04/04 2021 Weaving Triggers 11/04 2021 ! {Tricks & Habits} 18/04 2021 Patatuning 5.00 – 6.30 pm UTC, workshop. Limited to 6 participants. or join us for the performance 6.30 – 7.00 pm UTC. Free access to all.
Questions? Don’t hesitate to contact me. More info.
Participants are invited to join, during 90 minutes, the members of the group in order to explore together dynamics of listening and improvising through voiced sound(s) as a means to weave a web of interrelated expressions in a communication system. The workshops will be guided and each one culminating in a 30minute public performance
Utterings is a networked performance and research group. Engaging in utterings as communication, they build on solo’s, duo’s, chorals and silence while blindfolded and connected at a distance, attempting to go beyond borders and closures created by language.
UTTERINGS is a networked performance and research group composed of Annie Abrahams (FR), Daniel Pinheiro (PT), Constança Carvalho Homem (PT), Curt Cloninger (US), Nerina Cocchi (BE) and Derek Piotr (US).
April 4 Weaving Triggers April 11 ! {Tricks & Habits} April 18 Patatuning 5.00 – 6.30 pm UTC, workshop 6.30 – 7.00 pm UTC, performance The guided workshop will culminate in a 30 min performance, open to all.
Are you interested to join us in the workshop? Please book asap on the We’re All Batts website here. Places for the workshop are limited to 6. Participation is free. Any questions? Don’t hesitate to contact me.
In 2020, many people encountered online performance for the first time. We asked some of our peers “When was your first online performance?” BEFORE THE FIRST is a brief glimpse of the diversity of online performance created before 2020. Compiled by Annie Abrahams, Helen Varley Jamieson and Suzon Fuks. Edited by Suzon Fuks.
With thanks to: Gwendoline Samidoust, Lucie Desaubliaux, Muriel Piqué, Soyung Lee, Lily Robert-Foley, Gilson Moraes Motta, Atefeh Khas, Elaine Vaan Hogue, Alejandra Ceriani, Ximena Alarcon, Daniel Pinheiro, Emma Che Raethke-Martin, Christina Papagiannouli, Martina Ruhsam, Rosa Sanchez, Caroline Delieutraz, Jorge Rojas, Rebekah Wild, Miljana Perić, Alan Sondheim, Patrick Lichty, Roger Mills, James Cunningham, Johannes Birringer, Joseph DeLappe, Keith Armstrong, Karla Ptáček, Auriea Harvey, Jean-Marc Matos, John Hopkins, Nina Sobell, Antoinette LaFarge, Adriene Jenik and Paul Sermon.
Why is the use of videoconferencing so exhausting? An analysis on the demands. Video essay by ANNIE ABRAHAMS and DANIEL PINHEIRO.
Abrahams, A., Pinheiro, D., Carrasco, M., Zea, D., La Porta, T., de Manuel, A., … Varin, M. (2020). Embodiment and Social Distancing: Projects. Journal of Embodied Research, 3(2), 4 (27:52). DOI: http://doi.org/10.16995/jer.67
Traduction en français : Pourquoi l’utilisation de la visioconférence est-elle si épuisante? Une analyse. l’intimité est gênante l’intimité est gênante AUCUN APERÇU AUCUN APERÇU AUCUN APERÇU AUCUN APERÇU AUCUN APERÇU AUCUN APERÇU AUCUN APERÇU PAS DE VUE D’ENSEMBLE vous devez scanner l’écran en continu interruption(s) impossible de détecter des détails subtils pas de détail l’imagination remplace les signes secondaires de la communication et ceux-ci doivent être traités sur leur utilité nous sommes enclins à vérifier notre propre image tout le temps comme si nous avions besoin d’une assurance continue que la connexion existe toujours tout le son est mélangé dans un environnement sonore mono, cela conduit à une compression de l’espace partagé, nous devons deviner d’où vient le son distraction(s) toi, je et moi une situation triangulaire dans laquelle nous nous sentons et nous regardons nous-mêmes et les autres … c’est psychologiquement exigeant: notre cerveau doit traiter le soi comme corps et comme image interruption(s) vous ne voyez les visages de près que lorsque vous êtes bébé dans un berceau ou avec un amoureux au lit vous ne voyez les visages de près que lorsque vous êtes bébé dans un berceau ou avec un amoureux au lit il y a du délai nous ne sommes jamais exactement dans le même temps / espace Tout cela contribue à un épuisement. Nous essayons de dépasser les limites des environnements artificiels sans prendre en compte ses spécificités. Que se passe-t-il si nous supprimons les sens que nous utilisons le plus pour communiquer? Et si nous fermons les yeux et ne parlons pas. Qu’est-ce qui reste?
Svp si vous utilisez ce texte citez l’original : Abrahams, A., Pinheiro, D., Carrasco, M., Zea, D., La Porta, T., de Manuel, A., … Varin, M. (2020). Embodiment and Social Distancing: Projects. Journal of Embodied Research, 3(2), 4 (27:52). DOI: http://doi.org/10.16995/jer.67
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