net art, video, performance

Annie Abrahams

Entanglements and glitches.

Disentangling the Entanglements is an article by Randall Packer, Associate Professor of Networked Art at the Nanyang Technological University (NTU), School of Art, Design and Media in Singapore, about my upcoming performance with  Antye Greie, Helen Varley Jamieson, Soyung Lee, Hương Ngô, Daniel Pinheiro and Igor Stromajer on the first day of the symposium The Art of the Networked Practice Online Symposium 29-31 March 2018, that he organises.

screenshot-2018-01-27-22-41-24_cropped
Technical tests  Jan. 2018

negotiate ideas together in order to achieve a result that’s not just one person’s problem, one person’s effort, but it’s the effort of a group of people solving a problem collectively.

Please visit the Symposium Website for more information and to register online.

On the 29th of March, Randall Packer will open the symposium and introduce the theme of the day: Being & Connectedness in Telematic Spaces. Then there is a keynote by Maria Chatzichristodoulou, who is associate professor in Performance and New Media at the London South Bank University. We follow with our performance called Online En-semble – Entanglement Training. And at the end there will be a discussion between all the participants and the online and on-site public.

On March 30, with the theme Networking the Real and the Fictional, Steve Dixon, President of LASALLE College of the Arts in Singapore will do an introduction and Blast Theory Co-founder Matt Adams will do a keynote. At the end there will again be a roundtable.

On Saturday March 31, centered around igaies (intimate glitches across internet errors), Jon Cates, Associate Professor Film, Video, and New Media, School of the Art Institute of Chicago will present an introduction, and will direct and perform a live networked performance with Roberto Sifuentes (US), Arcángel Constantini (MX), Shawné Michaelain Holloway (US), 愛真 Janet Lin (US) & Paula Pinho Martins Nacif (UK) (XXXtraPrincess).

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Filed under: Articles / Texts, Conference / lecture, Net art, Of interest, Performance, , ,

quand l’écran était encore un seul à seul

C’est drôle de découvrir aujourd’hui l’article L’intime à l’épreuve du réseau, écrit par Annie Gentes* en 2007. Elle y dissèque entre autres les facettes in-ex-times dans le travail de Nicolas Frespech et moi (p 92-95).
C’est drôle de s’imaginer que, peut être, elle écrivait ce texte exactement au moment où Nicolas et moi, nous faisions notre première performance webcam l’un la poupée de l’autre ensemble au Centre Pompidou.
C’est moins drôle de se dire que, aujourd’hui, cet in-ex-time s’est dissout dans une constellation de machines et d’algorithmes invisibles qui voient tout.

vuze_4

Les deux artistes révèlent que l’intimité se définit comme dynamique entre une mise en public et une mise à l’écart.

L’intime à l’épreuve du réseau, Annie Gentes.
Communication et langages, n°152, 2007. Usages médiatiques du portrait. P. 89-105.
Numéro thématique : Usages médiatiques du portrait.

Sous direction de Adeline Wrona.
L’un la Poupée de l’autre

*Annie Gentes est directeur Co-design and Media Studies à Telecom ParisTech.

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Daniel Fohr se rappelle – unmortparpage

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Annie Abrahams, tueuse en série. Daniel Fohr se rappelle de un mort par page; la page web qu’il m’avait commandé en 2007 pour son premier roman avec le même titre.
Un jeu interactif avec 162 boutons (162 étant le nombre des pages du livre de Daniel) sur lesquels on pouvait lire « tuer » convertissait le joueur en serial-killer digital.
Merci pour les jolies captures d’écran souvenir Daniel. L’expérience est encore possible ici.

Filed under: Articles / Texts, Net art, Of interest, ,

Daniel Temkin – Reading as Writing, Coding as Public Performance

esotericheader… the code poem* by Abrahams brought with it the nullified performativity of the code itself. It was filled with references to the body and to exchanges with other human beings and the machine, emphasizing the gestures that fail to completely traverse those divides. … 

… Reading Club builds on Abraham’s career in testing the power and limitation of online interaction and collaboration, but Apparatus_is {Other-s} in particular draws from the experience as living between languages. …

In Reading as Writing, Coding as Public Performance, Daniel Temkin / esoteric.codes wrote about the latest ReadingClub performance, part of The Wrong – New Digital Art Biennale in the @ scripting the other pavilion curated by noemata. Thanks Daniel for making the links to other parts of my work apparent.

ESOTERIC.CODES PROGRAMMING LANGUAGES AS EXPERIMENTS, JOKES, AND EXPERIENTIAL ART ESOTERIC.CODES

* Apparatus_is {Other-s}

#include
using namespace std;
style.display=“none”;
enum t{block, deep, variable, too_hot);
AI = on;
gender = void; //the woman, the perman, the woson, the huwo, the homofemme, the famal, the malelle, the mascinin, the femulin, the hom’man, the Mensch//
var other;
var machine;
var text;
var airtemperature=variable;
var noise,s;
var bandwidth;
var theory=0; // start without

int you(char *u, int other)
{
Entangle (int body, char *machine[]){entangle};
while (cin >> text & cin >>~theory)
{ if (exists(u)) Superposition(u) ;
else u=explode(text, noise, theory, machine);
Diffract () {diffract}; //always diffract
theory+=s;}
Smooth_talk::c-out < return body++;
}

// Apparatus_is {other-s} obsolete??

Superposition(constant char *u)
{ s=::superposition(u);}

/* warning 3262: possible incorrect inference at line 20 */

Annie Abrahams, November 2017.

Filed under: Articles / Texts, Languages, networked performance, , , , ,

Participar en tiempo discontinuo

besides,

logoArchivoVirtual

Participar en tiempo discontinuo
Zara Rodríguez Prieto

Telón de fondo. Revista de teoría y crítica teatral, núm. 25, 2017, pp. 160-178.
ISSN 1669-6301
telóndefondo /25 (2017)

In the Virtual Archive for Performing Arts (AVAE), written in Spanish, Zara Rodríguez Prieto analyses besides, (page 165 – 170), the online performance project I did with Martina Ruhsam (2014 – ….), Blast Theory‘s Karen, and Miranda July‘s Somebody as examples of the different ways conversation and discourse participate in online performative practices.

Direct link to download the complete article. (18 pages)

Resumen
Este texto analiza el concepto de participación en prácticas artísticas performativas realizadas a través de internet. Mediante el análisis de tres obras el estudio aborda la idea de participación desde la conversación como dispositivo y desde la construcción del discurso a partir de la interacción en red. En ese proceso se atiende también a la fragmentación temporal de la conversación, impuesta por las características propias de la interacción virtual y a sus implicaciones en la creación de discurso en un espacio compartido.
Abstract
The text examines the concept of participation in performative artistic practices which have taken place through the Internet. Analyzing three pieces, this study addresses the idea of participation focusing on conversation as a device and on the forms of discourse developed since the beginning of networked interaction. The article also explores the temporal fragmentation of conversation imposed by the characteristics of virtual interaction and its implications for the creation of discourse in a shared space.

imflieger

What is visible and what is not? What escapes visibility? What (is) resisted the exhibition? What belongs to each temporal layer of reality / fiction? From these main issues (online meeting, how to be together in the distance, not becoming dominant, the conversation and the agency of objects) arise another series of secondary issues that affect, in one way or another, any online relationship such as the creation of a shared intimate space, the contingency, the corporal relationship, the silences and the fragmented communication.
Google translation of a description of besides, on the Archivo Virtual de Artes Escénicas (AVAE) website.

besides, started as a Turbulence commission made possible with funds from the National Endowment for the Arts.

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Addictive Behaviours – interview

annie-abrahams3

For the new Furtherfield website’s “debate” section Ruth Catlow and Marc Garrett asked me to reflect on the limits and potentials of art and human agency in the context of increased global automation.

Addictive Behaviours: Interview with Artist Annie Abrahams

Triggered by their questions I talked about the difficulty to describe my artistic work in institutional contexts and how in a conversation with a friend I tried to explain my interest in Agency Art. Using this term means being able to make cross sections through disciplines and opening up closed domains of practice. I also talk about a lack of res-ponsability in online affect management and my mistrust in the influence of algorithms produced by  machines themselves.

The interview is part of an editorial series, alongside the Are We All Addicts Now? exhibition, book, symposium and event series at Furtherfield.
Are We All Addicts Now? Is an artist research project led by Katriona Beales.

In the same series there is also a delicious prose-poem-hex from artist and poet Francesca da Rimini (aka doll yoko, GashGirl, liquid_nation, Fury) who traces a timeline of network seduction, imaginative production and addictive spaces from early Muds and Moos.

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Understanding block chain ?

This email is there to try to pen down some of my very visceral negative reactions to Plantoid – The Birth of a Blockchain-Based Lifeform (p 51 -61) in Artists Re:thinking the Blockchain https://liverpooluniversitypress.co.uk/products/100826 (it’s a great book).

Let me first say that Plantoid is a great project, because it makes some implications of the Blockchain technology very evident and poses a lot of questions.

P 54 “All code deployed on a blockchain comes with a guarantee of execution, by engaging with a Plantoid, people are contractually bound to, and cannot deviate from the rules stipulated into the underlying smart contract code.”
Building a Plantoid is done by humans, of course they can deviate … and if not, they are stupid to participate and become slaves… (maybe there is something I don’t understand here)

P.55 “The Plantoid continuously monitors its Bitcoin balance and whenever it realizes, that a particular threshold has been reached, the Plantoid will be able to use this money to initiate it’s own reproduction”
A Plantoid has no conscience as far as I know, so I don’t think it can realize something – It’s  calculation and rules that trigger an action – a Plantoid isn’t living. Being made of code and rules is not the same as having a soul.

P 58 ” Indeed, the DNA of every Plantoid, that is, all the logic and rules that govern its growth and reproduction are recorded on the Ethereum blockchain. These may include certain distinctive aesthetic or physical requirements ….. that will affect the scope of creativity and the room for discretion left to the artists commissioned to produce the next Plantoid.”
So Plantoid seems to be conservative, reinforcing the characteristics it started with.

Artists will have to make propositions for the next level Plantoid within the rules and logic on the blockchain. Contributors can vote the for these by sending micro-transactions to the Bitcoin blockchain of their choice. All will be weighted by the amouths contributed and the smartcontract will process it and establish a winner.
Grrrrrr, automatised decissions Grrrrr anything can come out of such a thing Grrrrr, no discussion, the winner is not necessary what is wished for …

P 59 ” ….the reproduction process, the evolution of Plantoids follow a Darwinist approach” ….
Does it? Darwinism changed a lot over time.
The essential concept of “mutation” (for evolution) doesn’t seem to have a place in the Plantoid blockchain project. Mutation would mean a change of code, an intervention in the basic rules and logic of the blockchain and that seems to be impossible …. Adaption to the environment is not the same as mutation!

P 60 “Each Plantoid is forever and inextricably connected to both its ancestors and its descendants, with whom it can communicate through a shared blockchain-based network.”
I vigorously disagree with the use of the word “communicate” here. Even if it’s use could be correct, it is misleading because of our day to day use of the word. The block-chain based network exists for us to see, to conceptualise, but a Plantoid can not communicate inside it. Plantoids are part of a chain, network of rules and logic, they don’t exchange inside it. Information is linked, coupled, that’s all.

GRRR
winners and so losers, determined by calculation only
conservative
not living at all
GRRR

That’s what I understood

Best

( “”I hate blockchain plantoids by O’Khaos – that’s probably why they are great”,
Email to the netbehaviour mailing list Sept 25 2017 )

original_75436a5f-cda5-4e5a-9887-51eefc788e8f

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Doc(k)s – readingclub

doc(k)skl

Doc(k)s 4éme Série Numéro 25/26/27/28. Edition AKENATON, Ajaccio. 2017.
ISSN DOC(K)S 0396/3004.

Page 204 – 207. 10 9 les machines, elles, ne buguent jamais ? 3 Pages de la session William Burroughs du readingclub.fr (à partir de La révolution électronique) et un texte collage de Annie Abrahams et Emmanuel Guez – nov 2014.

Lecteurs et lectrices : Colette Tron, Frédérique Vargoz et Emmanuel Vergès.

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The Laboratory of Networked Behavior

thirdSpaceInterview

After my Networked Conversations interview with Randall Packer on the 13th of Mai, Randall wrote an interesting article called The Laboratory of Networked Behavior.

“Only through questioning, probing, getting dirty, and embracing the messiness of online behavior, can we even come close to any kind of understanding of what lies ahead of us in our mediated lives. That is why the work of Annie Abrahams, along with the other intrepid artist-investigators of the Net, is so crucial to our survival amidst the encroachment of the telematic embrace.”

And here is the recording of the interview : performance as reality – performance is reality.

And a preparation for the talk .pdf (very elaborate overview of my online performance history – not complete though)

Filed under: Articles / Texts, Interview, networked performance, , , , , , , ,

Co-incidences 18 – Yann Le Guennec

page20-21

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.

page50-51

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Upcoming

* 5/3 – 16/3 Workshop La performance en ligne comme outil de dévoilement ? ESA La Réunion.

* 29/03 15h30 Online En-semble – Entanglement Training Online performance directed by Annie Abrahams with Antye Greie, Helen Varley Jamieson, Soyung Lee, Hương Ngô, Daniel Pinheiro and Igor Stromajer, Art of the Networked Practice symposium, School of Art, Design & Media, Nanyang Technological University, Singapore.
* April, Residency Lingagens in Künstlerhaus Villa Waldberta, Feldafing, Germany.
Magdalena München, 21/4 19h30 unaussprechbarlich, theater  Hoch X, München, 25/4 19h30, Meta Theater, Moosach.

* 26/05 12:00pm (UTC-4) haunted.by.waters Online performance directed by Curt Cloninger with Annie Abrahams, Alma Alloro, Jason Scott Furr, Carrie Gates, Peter Kusek, Justin Lincoln, Rosa Menkman, Randall Packer.

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