net art, video, performance

Annie Abrahams

The art of online affecting: a crash course

Suddenly, cultural life takes place entirely on the internet, which until now was mainly used for marketing. How should you play the online stage, how to emote your audience there too? “Don’t get eaten by the screen.”

Alex Burghoorn, art critic of one of the biggest Dutch newspapers, De Volkskrant, interviewed me a few days ago and in his article he states that it is worthwhile to dwell on my work, now that not only a period of great financial worries for the arts, but also of digital experiments has begun. It feels as this is my moment of glory :).

I hope some readers got inspired and now start weaving moments of Distant Feeling(s) in their online meetings.
Fork Distant Feeling(s)!, it could be good for your health!

You can find the article (in Dutch) here online: https://www.volkskrant.nl/cultuur-media/de-kunst-van-het-online-ontroeren-een-spoedcursus~b8355ab1

My work can be difficult, some find it scary to participate,” says the pioneer of net art. “It can also fail, that there is no special feeling. I don’t mind, that emphasizes the vulnerable side of people.

ps The article also touches upon other digital art experiences.

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COMPOSE & DANSE

Je viens d’écrire deux scénarios AVANT LA PAROLE et LA CHOSE APPAREIL pour le site COMPOSE & DANSE. *
Deux autres L’OEIL QUI VOUS REGARDE et LE BRAS QUI VOIT seront publié en 2020.
A faire chez vous dans votre salon, cuisine, chambre etc.

* COMPOSE & DANSE vous invite à danser, à danser comme vous êtes, à fabriquer vous même votre danse…
COMPOSE & DANSE est une application web interactive et participative dédiée à l’art chorégraphique. Elle ouvre, grâce à l’outil numérique, une nouvelle voie d’accès aux processus de création et de composition d’artistes contemporains qui placent le corps dansant au cœur de leur pratique.

COMPOSE & DANSE est un projet de Muriel Piqué.

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The Wraggied Bonemen

The Wraggied Bonemen is a text that I contributed to a V[R]erse piece by Mez Breeze.

Each V[R]erse is created by different digital literature authors [text] and Mez Breeze [development + design, model + concept creation, audio].

A V[R]erse is a microstory. Each story consists of a storybox that can be experienced in 3D via a WebXR enabled mobile device, desktop PC and in Virtual Reality.

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Agentivité – art

L’Agency Art ou une Éthologie Participative dans des Environnements Artificiels ?
Article publié dans LINKs séries 1-2. ISSN  2592-6756.
Directeur de la publication Louis-José Lestocart.

…Cet article sera diffractif, multilingue et fondé sur le collage. J’emprunte, je copie. Je ne raconte pas, mais déroule et expose. Comme mes conférences, ma pratique artistique, ma pensée est transversale, interdisciplinaire, non-linéaire et éclectique…

La revue LINKs élargit et enrichit sans cesse le domaine de l’investigation en mêlant actualités scientifiques — phénoménologie, mathématiques, informatique, neurosciences, neurodynamique, théorie des systèmes, théorie des systèmes dynamiques, nanotechnologie, physique, physique quantique, (information quantique, décohérence, perspective bohémienne…), intelligence artificielle, robotique, médecine, biologie, biologie théorique, auto-organisation, systèmes multi-agents — , concepts philosophiques, histoire des idées, et champs artistiques (photographie, cinéma, vidéo, cinéma expérimental, cinéma en réalité virtuelle, net.art, installations, performances, installations interactives, réalité augmentée, mixed reality, bioart, land art, littérature, poésie…) qui conjuguent admirablement dessein épistémologique et souci de la forme.
http://links-series.com/ – free pdf

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The Machinic Author

Our article The machinic author has been published in the Journal of Creative Writing Studies in a special Issue: Creative Making As Creative Writing.

… an artists’ statement that situates the work in feminist materiality (Barad) Kathi Berens.

The author is this intra-action itself. The author is not “dead” as such. He has just changed his nature. The machinic author reveals herself as queer.

Abrahams, Annie and Guez, Emmanuel (2019) ““The machinic author” Artist’s Statement: The Reading Club”, Journal of Creative Writing Studies: Vol. 4: Iss.1, Article 8. ISSN: 2474-2937.
Available at: https://scholarworks.rit.edu/jcws/vol4/iss1/8

“We take the Reading Club as an example for how nowadays reading and writing is entangled with machines and software. A real-time language game with a humorously competitive character becomes, through a public act of constructing and deconstructing sense, a creative apparatus. This literary “machine” does not write itself, but makes authors write text in a conversational space full of meanings and emotions. It is a kind of human text generator that challenges the idea of creation and where the authors are, at best, co-creators. Appearing in the 1960s, the “death of the author,” who is not really one, is actually the awareness of the emergence of the machinic author.”

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Online performance – three articles.

If you are interested in remote collaboration and art you may want to read these. Flaws and possibilities, conditions for participation and audience agency are treated.

Trapped to Reveal – On webcam mediated communication and collaboration. Annie Abrahams, Jar #2 ISSN 2235-0225, 2012.
It is about performance, it is about processes and human beings being transformed. Annie Abrahams formulated motives, described means and managed to give this research a succinct philosophical and political background.

Learn together what it means to be connected CyPosium – The Book, 2014, ISBN 9781291988925.
Annie Abrahams reflects, referring to Kit Galloway, Gregory Bateson and Susan Kozel on her participation in and the interest and importance of the Cyposium.
we will have to become more radical in our experimentations and start to be more critical towards our own work. We shouldn’t be afraid to operate a ‘niche’, where we are ‘just’ our own audience. It might be a prerequisite for new discoveries, for the creation of a situation where we learn together what it means to be connected...

Preconditions for Online Participation PAIC, 2019.
Annie Abrahams finds that an awareness of hardware and software influences, clear and open protocols, familiarization with the technology, an active role and a hospitable environment for the participants are obligatory to allow them to enjoy an aesthetics of attention and trust, where their choices and behavior count.

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Preconditions for Online Participation

Summary:
In this article Annie Abrahams gives a short personal, yet critical overview of her always collaborative and often participatory artistic practice. Based on her experiences she tries to formulate some general preconditions for it to be successful. She finds that an awareness of hardware and software influences, clear and open protocols, familiarisation with the technology, an active role and a hospitable environment for the participants are obligatory to allow them to enjoy an aesthetics of attention and trust, where their choices and behavior count.

Preconditions for Online Participation should have been part of the PAIC (Participatory Arts for Invisible Communities) e-book published in 2018. For internal communication issues too futile and irritating to remember it ended as a not-even-edited blogpost on their website. This was hard, because I had done what was needed, and on time – they had not.

After regurgitating my anger I decided to also publish the article, meant for lay-wo-men, but not only, on my own website and to upload it also to academie.edu. Here you can download a Preconditions of Online Participation.pdf of the article (with images :)).

When participants connect, they have to find themselves in a hospitable environment. They need to feel welcome. In chatrooms during events for instance, I always ask someone familiar to the project to mediate, to answer questions, to animate, when I cannot do that myself.
Participation needs to be rewarding. When an interesting exchange is going on, this can be natural. Sometimes it is already enough to be seen present in a particular public event or to be part of a specific community. Concrete influence or agency by the members of the audience is also very motivating.
..

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Méthodologie / Methodology V1 – Constallations

Method fleur style.

.pdf fr & .pdf Eng

La méthodologie Constallations sert à aborder des constellations, peu importe leur nature, par l’installation d’une procédure collective. C’est une méthode de mise en mouvement, qui emprunte aux étoiles ses chemins indéterminés.

What must be put into play to make Constallations appear?
Conditions – Necessary attitude – Tools – Protocol
Why write a methodology, a “how to”?
Why would it be important to describe the Constallations methodology?

Each session is always also a gesture of love. Intuition, intellect and machines blend together and create an affect. The path fantasized by the one who organizes, the one who desires, becomes a labyrinth of encounters, bifurcations, digressions, a pure sensory juice of entanglement. The research is done with a benevolence that is inseparable from it: without kindness nothing would emerge.

https://constallations.hotglue.me/?methodologie

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

media arts culture / traditional art systems

cropped-invisible_forces_at_furtherfield-gallery

Marc Garrett interviewed artists Gretta Louw, Antonio Roberts & Annie Abrahams for the last chapter of his PHD Imaginative Dissent: Art, Technology and Social Change.

Unlocking Proprietorial Art Systems interview: with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams.

Three different points of view on the relation between media arts culture and the already established, traditional art systems & if and how this relation changed over time.

– lack of viable commercial options – Freemium system – scary shared ownership – not grounded aesthetics – mimicking traditional systems – artists facilitate the introduction of technology to the layman and start to be used for that –

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A promise of Internationalism?

Screenshot-2018-3-19 Live Art and Telematics The Promise of Internationalism - Art of the Networked PracticeRandall Packer invited Maria Chatzichristodoulou (AKA Maria X) to be the opening keynote speaker for the Art of the Networked Practice Online Symposium because as a performance scholar she is uniquely committed to chronicling, critiquing and contextualizing live Internet art.

In an article called Live Art and Telematics: The Promise of Internationalism Randall writes that Chatzichristodoulou is bringing to our attention the “challenging restrictions placed upon the free circulation of people and ideas” that questions the utopic prediction of the “global village” more than fifty years ago by Marshall McLuhan.

He expects Maria’s probing analysis will stir up an interesting debate during the international symposium. ( March 29  – 31. Free to attend online or in Singapore. )

A promise of Internationalism? I don’t remember – Very curious to hear, and discuss with, Maria on the 29th, when we ( me and  Antye Greie, Helen Varley Jamieson, Soyung Lee, Hương Ngô, Daniel Pinheiro, and Igor Stromajer) will also do a performance called Online En-semble – Entanglement Training.

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Upcoming

  • May 24 – August 2, Séparation in Afterflash exhibition, ELO’s The NEXT.
  • June 23, 16h, online performance workshop Angry Women, @MagdalenaOnlineFest 
  • June 25th 17h30 and June 26 20h Angry Women online performance @MagdalenaOnlineFest 
  • 27/06 13h participation in 6 Writers Be Like BodyObsolete by Suzon Fuks @MagdalenaOnlineFest 
  • 01/07 online Alcho performance in the frame of the presentation of the Alchorisma website.
  • Ongoing Constallationsss

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Annie Abrahams
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