net art, video, performance

Annie Abrahams

Performing Alchorithms – IUR

Recently I posted a short article Performing Alchorithms? on the website of the Institute of Unnecessary Research* founded by Anna Dumitriu in 2004.

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.

——–

* 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.

*** Naoto Hieda lately wrote about Best Practices in Contemporary Dance a queer form of conversation between technology and bodies.

**** 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.

Filed under: Articles / Texts, Performance, research, , , , , ,

PØST Escaping a Father’s Dream

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.

https://revuepost.com/

Filed under: Articles / Texts, poetry, ,

An Experience of Angry Women

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.

Filed under: Articles / Texts, Performance, Workshop, , , , ,

Pandemic Exchange

Pandemic Exchange, a beautiful publication made from an interview project by Josephine Bosma.

The book is available for free as epub and pdf, and can be ordered as print on demand:
https://networkcultures.org/blog/publication/pandemic-exchange-how-artists-experience-the-covid-19-crisis/

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.

Filed under: Articles / Texts, Of interest, ,

hybrid – langu.ages

with/in languages – a pretty pathetic
avec et dans les langues – un assez pathétique
Annie Abrahams
in
The Creative Web of Languages / Le réseau créatif des langu.ages
Hybrid 07 | 2021
ISSN électronique 2276-3538

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.

Filed under: Articles / Texts, e-literature, Languages, , , ,

“Alcho” a performative algorithm

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.

Filed under: Articles / Texts, Collective writing, networked performance, Performance, , , , , ,

Stof / Poussière / Dust

“stof” Nederlands with translation

Suzon Fuks made a video for “stof” the text I wrote for her “BE LIKE BODY—OBSOLETE #4” project. She asked 6 artists writers to responded to the questions:
How do we advance technology without giving up our sense of humanity?
What does it mean to become / be obsolete?

I am very happy to contribute to this beautiful interesting project with 5 other writers from very different cultural backgrounds and languages: Amaranta Osorio, Nasim Khosravi, Parvathy Baul, Ya-Ling Peng and Younghee Park. Their videos can be found here https://vimeo.com/suzon

For this project Suzon does a performance and made an e-book and audio track. The performance will happen on Sunday 27 June 2021, and will be followed by the artist talk with all six writers.
You have to book for the performance and talk onlinefestival.themagdalenaproject.org/be-like-body-obsolete-1
and onlinefestival.themagdalenaproject.org/6-writers

“Pousièrre” en français with translation

Filed under: Articles / Texts, Event, Video, ,

Corona Corona Corona

Deux/two extracts of un poème multiligue
https://internetexploreur.com/corona-corona-corona

Other d’autres text(e)s by me on sur Internetexploreur

I used Midst, a software made by Annelyse Gelman to produce this text.
We hold no particular aesthetic allegiance, but we believe that poetry is a process, a way of thinking in language, engaging with language, attending to language. Poems are events. Poems are for everyone.

Filed under: Articles / Texts, e-literature, Languages, , , , ,

Video essay – Why is the use of videoconferencing so exhausting? – in JER

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

Video footage from Distant Feeling(s)

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

Filed under: Articles / Texts, Performance, research, Video, , , , , ,

Internet Exploreur ? poésie ?

De huid tintelt
Parce qu’elle ne peut se rapprocher – interdiction
Qu’est-ce que ça fait de frissonner en français

Trois de mes textes (multilingue) inclus dans INTERNET EXPLOREUR : un site de littérature qui accueille des textes inédits. Il n’y a pas de comité éditorial, mais il n’est possible d’y publier que si vous y avez été invité.

Le site utilise le police par défaut de votre système, est conçu pour être accessible à tout le monde et sur toutes les plateformes. Il est comme une maison dont on partage la clé et dans laquelle chacun fait comme il veut.
Je suis heureuse d’y être! Merci Lucie Desaubliaux!

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Annie Abrahams
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