INTERNET EXPLOREUR a été en ligne et actif à l’adresse Internetexploreur.com de 2020 à 2022. Maintenant fermé, l’archive consultable de sa dernière version, mise à jour pour la dernière fois le 14 mars 2022 a été mis en ligne par Lucie Desaubliaux sur github. Merci beaucoup Internet Exploreur.
February 2, 2022 • 4:15 pmComments Off on the significance of maintaining online access to obsolete Adobe Shockwave Flash (SWF) files through the source code
Anna Mladentseva wrote an interesting article on conservation, archiving and performance of flash-based pieces. She mentions how I kept what was left of Karaoke (2006) on it’s original page, and included at the same page the Rhizome’s Conifer archive of the piece working but also have the original .swf and .fla files available on the website.
On conservation of netart, archiving, code and performance.
Anna Mladentseva (2022): Responding to obsolescence in Flash-based net art: a case study on migrating Sinae Kim’s Genesis, Journal of the Institute of Conservation, DOI: 10.1080/19455224.2021.2007412 https://www.tandfonline.com/doi/full/10.1080/19455224.2021.2007412
This article outlines an alternative method of migration facilitated by reverse engineering techniques—specifically decompilation—and foregrounds the significance of maintaining online access to the obsolete Adobe Shockwave Flash (SWF) files through the source code. On this premise, the source code is re-imagined as a site for further re-enactment, allowing a departure from its current role as a marker of ‘authenticity’.
Merci Floris Taton. Le 29 janvier 2018 nous avions un entretien de 1h37 via skype. Enfin je peux te lire.
Résumé : Depuis les années 1970, le féminisme inspire les artistes de la performance. Cette décennie pionnière est très documentée, mais qu’en est-il pour les trois décennies suivantes ? Le féminisme dans les vies et les œuvres d’artistes de la performance en Europe et en Amérique du Nord entre 1980 et 2010 propose, par le biais de vingt-cinq artistes dans dix-sept pays un état des lieux du féminisme de la deuxième et de la troisième vague. L’objectif de la recherche est d’éclairer les artistes de la performance et leurs productions au regard d’enjeux féministes. Trois volets sont abordés : les prémices des parcours des artistes, les sources et formes de l’influence féministe et sa place dans les œuvres.
“La puissance de l’art d’Annie Abrahams est aussi forte que son travail est sous-évalué.” :)
Mijn gedicht de huid tintelt (multi-lingual) is opgenomen in WEEKBLADEN #56 – back to the future. Op 30/11 is het ook onderdeel van Radio Klebnikov, het Programma van de Vrije Lyriek elke zaterdag 18-20 u op Radio Scorpio (FM 106 in het Leuvense, online radioscorpio.be).
With works by William Shakespeare, Fernando Pessoa, Jim Leftwich, Steven Grauwmans, Anke Veld, Petra Fenijn, Lanny Quarles, Alan Sondheim, Adriána Kóbor, Olchar E. Lindsann, Harmen Verbrugge Marina Kazakova, Sara Maino, Sarah Michaux, Martin Knaapen, Sadà\exposadà, Annie Abrahams and Jan Eikelenboom.
In the article I explain the background of the invitation to participate in a private Alcho performing session. Alcho = Performing Alchorithms = Sharing processes through evolving protocols.
In Alcho** Annie Abrahams asks: 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 Annie thinks the project will probably turn out to be an erratic, iterative, evolving, experiential happening.
While at the start I was interested in the evolving of a performance when treated as an algorithm executed by humans, this interest later moved to the written traces; to the written instruction sets, as markers of the evolving Alcho processed through humans by writing and performing.
Choreography/algorithm by Naoto Hieda*** after Alcho performance during the Alchorisma**** platform presentation 01/07/21
Do you also want to experience Alcho? Contact me privately and I will also perform for you.
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* The Institute of Unnecessary Research, or IUR as it is often known, presents a new paradigm in the way artists are engaging with the world through trans-disciplinary arts practices. Part arts collective, part think tank, the IUR is a global hub for researchers and artists working experimentally, and deeply engaged with curiosity-driven research.
** Alcho has originally been developped with RYBN during Alchorisma: a work-session organised by Z33 and Constant in December 2018.
**** Alchorisma alludes to the relationships between algorithms, charisma, rhythm, alchemy and karma. It looks at integrating cosmogenetic views with the charisma surrounding technology, at ways to infect existing algorithmic models with ideologies that acknowledge the importance of co-existence with non-human entities.
Happy to have my poem Escaping a Father’s Dream published in PØST poésie contemporaine / contemporary poetry issue #8.
Curated by Leila Alfaro & Gabriel Kunst
With also work by Kristin Garth, Mathilde Senécal, Clem Flowers, Pascale Bérubé, Preston Smith, rachel lamoureux, Nicholas Giguère, Christopher Lloyd, Peau Wet, Oormila Vijayakrishnan Prahlad, Myriam Legault-Beauregard and Nadia Gerassimenko.
Pøst- est une revue de poésie bilingue en ligne qui s’intéresse à la littérature contemporaine. / Pøst- is an online bilingual poetry journal interested in contemporary literature.
An Experience of Angry Women (published on the Magdalena website and on the festival website) is the text Shelly Quick wrote about her experience of participating in my workshop Angry Women and the subsequent performing at the Bodies:On:Live Festival. I am very happy with her feedback. Thank you Shelly!
… Kind of like sticking a sliver under the audience’s skin, giving them something to worry at for some time to come…
…Performing in Angry Women doesn’t/didn’t solve anything, and that, as one of my co-performers pointed out, wasn’t really the point. It has changed something though, at least for me…
...I wanted to be involved in this festival: I wanted to see what could be done with theatre online. What could be done by women, many of them of a certain age, non-digital natives, who were daring to say, “We will not be silenced by these circumstances, we will find a way to keep putting our work out there. Our work is important and deserves this attention.”…
More information on the Angry Women (2011 – ongoing) project here.
Amazing to read how the pandemic plays out in daily life in different places in the world, and to read about the very different ways in which the pandemic affects individual artists and their work.
With: Annie Abrahams, Lucas Bambozzi, Dennis de Bel, !Mediengruppe Bitnik, S()fia Braga, Arcangelo Constantini, Tiny Domingos, John Duncan, Nancy Mauro Flude, Ben Grosser, Adham Hafez, Sachiko Hayashi, Lynn Hershman Leeson, Garnet Hertz, Jennifer Kanary, Brian Mackern, Miltos Manetas, Lorna Mills, Daniela de Paulis, Tina La Porta, Archana Prasad, Melinda Rackham, Michelle Teran, Mare Tralla, Igor Vamos, and Ivar Veermäe.
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
Reflections on language(s) and/on/in/through the web & people & vice versa- en français & in English
With/avec/by/par Jean-Pierre Balpe, Claire Larsonneur, Serge Bouchardon & Nohelia Meza, Saemmer Alexandra / Anna-Maria Wegekreuz, J R de Plume, Charlie Gere, Lou Sarabadzic, Janan Marasligil, and Annie Abrahams.
“Toute l’œuvre d’Annie Abrahams consiste à expérimenter à travers la performance la communication numérique en mobilisant tous les types de langage possible pour contrecarrer les approches réductrices et essentialistes de la présence, de l’identité, de l’Autre et de la communication. Pour citer la contribution qu’on trouvera dans le présent numéro :
Je suis invisible, exotique, non identifiable, floue, trouble, changeante, grossière, vulgaire, rustre, crue, insolente, naïve, aliénée.
Je suis queer, hybride, complexe, malléable, pliable, souvent seule, silencieuse, distordue, déformée, subversive, solitaire.
Je suis parfois aussi abjecte, offensante, souvent incompréhensible et impolie.
Je parle une langue cassée, ma langue est bâtarde, bancale, tordue, tortue, torte, tortueuse.
Un e-tranger vit entre les cultures, est nulle part et partout à la fois.
Nous sommes des hommes traduits, complexes […]”
La revue Hybrid est une revue bilingue (français-anglais) portée par l’École Universitaire de Recherche ArTeC et publiée en ligne par les Presses Universitaires de Vincennes.
Bientôt! Entretien au sujet de Distant Movements Annie Abrahams, Ivan Magrin-Chagnolleau, Alix de Morant, Dabiel Pinheiro, Muriel Piqué, p-e-r-f-o-r-m-a-n-c-eCréation Research Vol.6 | 2022.
8 oktober 2023 tot en met 1 april 2024, Being Human presented in REBOOT, Nieuwe Instituut, Rotterdam.
Constallationssswith Alice Lenay, Pascale Barret, Alix Desaubliaux et occasionellement Gwendoline Samidoust et Carin Klonowski.
net art, video, performance 
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