net art, video, performance

Annie Abrahams

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!

Filed under: Articles / Texts, , , ,

Video Vortex Reader III – Distant Feeling(s)

Video Vortex* Reader III

Edited by Geert Lovink and Andreas Treske

INC reader #14

Institute of Network Cultures, Amsterdam 2020.

Download it here, as e-pub, pdf or print-on-demand (via Lulu): https://networkcultures.org/blog/publication/video-vortex-reader-iii-inside-the-youtube-decade/

Contributors: Annie Abrahams, Ina Blom, Natalie Bookchin, Pablo deSoto, Ben Grosser, Adnan Hadzi, Judit Kis, Patricia G. Lange, Hang Li, Patrick Lichty, Geert Lovink, Gabriel Menotti, Sabine Niederer, Dan Oki, Aras Ozgun, Daniel Pinheiro, Rahee Punyashloka, Oliver Lenore Schultz, Peter Snowdon, Andreas Treske, Colette Tron, Jack Wilson, Dino Ge Zhang.

A silent, yet sentient, relational encounter, materialized as a telematic embrace where nothing seems to happen and where the lack of apparent action has transformed into the transposition of the concept of agency and a potential way for fighting alienation. …

Distant Feeling(s) highlights in its genesis and continuity the need to feel/sense presence and suggests a pragmatic approach for reshaping a consciousness on kinship resorting to available technological tools which have been transforming its meaning.

Page 185-193. Distant Feeling(s) Annie Abrahams & Daniel Pinheiro.
We describe the genesis and history of this performance series where in an online interface, that normally is used for videoconferencing we spend time together eyes closed and not talking.

* Founded in 2007, Video Vortex is a lively network of artists, activists, coders, curators, critics, and researchers linked by the exchange of ideas, materials, and discussions both online and offline. The first Video Vortex reader came out in 2008, followed by a second in 2011. This third anthology covers the turbulent period from Video Vortex #7 (2013) in Yogyakarta, across the meetings that followed in Zagreb, Lüneburg, Istanbul, Kochi, and finally Malta in 2019.

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

Decentralisation and commoning the Arts – Ruth Catlow

Decentralization and commoning the arts by Ruth Catlow looks at how we can reclaim art from the logic of markets and commodification using the redecentralized Internet. Mai 2019.
She uses an image of the methodology of Constallations to illustrate her article.

Art and commoning practices produce new cultural protocols, rites and rituals that in turn produce new forms of communal and collective being, feeling, and knowing. Examples of this are the Constallations Methodologie by Annie Abrahams, Pascale Barret & Alix Desaubliaux; the Cryptorave by !Mediengruppe Bitnik and Omsk Social Club;Real Game Play by Omsk Social Club; Bank Job ‒ The artists’ renegade “bank”, a symbolic and practical intervention into debt slavery, …
… Radical, rooted, artworld events can produce new timespaces that cultivate new ways of being, feeling and knowing for individuals and collectives of people.

Filed under: Articles / Texts, ,

Revisiting “Separation / Séparation”.

Ania Szremski* wrote about my 18 year old interactive poem for the New York based 4Columns website. During the spread of corona 4Columns continued to write on art and commissioned writing that addresses specifically works of culture that are still available in the public sphere, in one guise or another.

Revisiting the net artist’s Flash poem Separation / Séparation:

You must click repeatedly on the pale-yellow field of a pop-up window to get the narrative to unspool, word by word, its story of pain, the lament of one suffering body being taken over by another, demanding, unfeeling one. The suffering seems to be caused by the melding of human and computer, but it’s not totally clear who is suffering.

in Separation / Séparation, Abrahams anticipates our impatient behaviors and both goads us into them, so we become conscious of these automatic operations, and induces us to comport ourselves differently, to adopt a gentler attitude in front of the poor pounded-on computer.

That escape comes easiest through technology, but not here: Abrahams bars the door to fugitive, algorithmic reprieve.

Ania Szremski is the managing editor of 4Columns. From 2011–15, she was the chief curator of Townhouse, a nonprofit contemporary art space in Cairo, Egypt; she was also a founding editor of Mada Masr, Egypt’s premiere platform for independent, progressive journalism. She is a recipient of a 2016 Creative Capital | Andy Warhol Foundation Arts Writers Grant.

ps I found the Italian translation in a powerpoint version + plus the article that relates the difficulties of recreating a flash piece without sources.

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

Upcoming / ongoing

  • May 24 – August 2, Séparation in Afterflash exhibition, ELO’s The NEXT
  • 24-28/08 Constallationz : la matinale, 3 émissions radio, Résidence Espace Gantner, Bourogne.
  • 19/05 – 19/11 2021 Moving Paintings (1998), Sans Objet, Centre Pompidou.
  • PWEM, Art was only a substitute for the Internet, The Wrong Biennial, 2021-2022.
  • Distant Movements with Muriel Piqué and Daniel Pinheiro – ongoing
  • End of 2021 Distant Feelings with Daniel Pinheiro – yearly reconnexion

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Annie Abrahams
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