net art, video, performance

Annie Abrahams

Distant Feelings #5

Wednesday December 19th 2018,
9-9:15AM EST (New York time)
3-3:15PM GMT+1 (Paris time)
2-2:15PM GMT (Porto time)
Find your time here.
An Online Ritual.
Open to all.
Eyes closed and no talking.

If you want to join you need to install the zoom application on your device.
On the 19th connect at 2:55 pm Paris time / 1:55 pm Porto time / 8.55 am New York time to meeting no 3210554238.

15 minutes of ‘us’ being together, (t)here, where? …. 15 minutes against the everyday digital restlessness, building a sensorial invisible fabric that gathers who’s participating (and who’s not?!), resiliently coming back to this shared moment, with the same faces or others, who will be there again in this silent and blind encounter across each other in an electronic communion. Will it be ‘us’ again?!
Daniel Pinheiro after Distant Feelings #4 Dec.1st 2017.
Image from DF #4 :

DM4nb3

Distant Feeling(s) #5, fifth session in a series of online webcam meetings trying to experience each other’s presence eyes closed and no talking.

Distant Feeling(s) #5, the second of a livelong yearly reconnection.
An ever-changing re-enactment of our intra-action with machines.

Distant Feelings is a project from Annie Abrahams, Lisa Parra and Daniel Pinheiro. More information.

Advertisements

Filed under: networked performance, , , ,

constallations – 3G(enerations)

3G(enerations : Annie Abrahams (Montpellier), Pascale Barret (Bruxelles) et Alix Desaubliaux (Lyon), trois artistes, trois femmes, trois générations, se retrouvent en ligne pour Constallations : un projet de rencontre où le faire est utilisé comme instrument pour défaire sa propre réflexivité, son subjectivité systématisé et pour se lire les unes à travers les autres à fin de générer des moments créatifs et inattendus.

3Gv72

Constallations est une conversation sous la forme de 3 x 3 sessions de désirs / tempêtes / lavages cérébraux.
Constallations est un outil radical pour un non-art. 
Constallations est une confrontation attentive entre générations, visions et pratiques.

Chaque instanciation est initiée / hébergée par l’une des artistes comme une invitation et un défi aux deux autres. Jusqu’à maintenant trois sessions ont eu lieu : Defragmentation, Crittertalk et musingCyborg. Reprise en janvier.
Pour suivre le projet : constallations.hotglue.me.

Nous nous penchons aussi sur comment faire vivre ce projet après. Comment l’archiver ? Comment l’anarchiver ?* Comment récolter les “graines” pour pouvoir les réutiliser ailleurs? Pour qu’on puisse se les réapproprier – ne pas pour produire, mais pour faire pousser autrement. Comment y extraire des tendances / les essences / les affects?
Un protocole, une procédure ou plutôt une danse, un mouvement? Un rituel ?

3g-rouge

Constallations  est soutenu par OUDEIS dans le cadre de son axe de recherche sur l’exposition et l’automatisation.

* L’anarchive est un concept développé par le senselab Canada. Il s’agit de produire des traces qui ne sont pas inertes mais porteurs de potentiels. Hors canon.

Filed under: networked performance, research, , , , ,

Distant Movements

In Distant Movements we close our eyes. Thus we immerse ourselves in the imagination of our own space and we can not control how we appear on the screen. We are guided through this space, at the same time real, virtual and imaginary, by a voice. It is this voice that creates a shared mental space.

In this shared space our bodies dance and interpret, each in their own way, the words coming in two different languages. It is clear that in the immediacy of our interpretations, our smallest differences occur, revealing an unsuspected value. So many bodies, so many dances: in-reproducible, inimitable. And each one gets in tune with the other and dances with the other, imagining the dance of the other in his own inner space.

In July 2018 Daniel Pinheiro, a performer and visual artist based in Porto, Muriel Piqué, a choreographic artist, researcher and performer from Montpellier and I started working on a new project called Distant Movements. In this project the intense presence of and attention for the unseen other, experienced in another online networked project called Distant Feelings*, is extended with an exploration of our bodies in motion and the imagination of the other who also moves, who also dances.

Distant Movements wants
– to give an intimate access to a danced, dancing body
– to reveal the body to poetry / to acces a poetic body
– to activate a body at a distance
– to research – the relation body-machine, their interdependence, their entanglement, the connection, the constraints – meeting at a distance mediated by cables, the voice, our imagination, our sensations – the relation between the real space / virtual space / imagined space.
– to share the magic of dancing together over distance

Distant Movements uses performance as a tool.

Distant Movements manifests itself as
– a research web site; an anarchive** : traces intended to be potential carriers, that can be reactivated.
– a series of online experiments
– online participatory performances accessible via zoom.us
– performances / installations in situ
– video traces some of which will have the status of a stand-alone art work.

Distant Movements can be followed here : distantmovements.tumblr.com
So far we had 7 sessions. In the future we will invite more people to assist in our experiments.

———-

* Distant Feelings is an ongoing project by Annie Abrahams, Daniel Pinheiro and Lisa Parra – an online ritual of contemplation on our situation of being together while being separated. Eyes closed, no talking.

** For a concise definition of the anarchive visit senselab.ca.

Filed under: networked performance, Performance, , , , , , ,

Distant Movement(s) #1

volantino-3days-2018June 30th 19:10 Distant Movement(s) #1 test (30′)
Distributed performance with audience participation.
On online togetherness and movement without movement.

In the frame of /Prolegòmeni e Gómene/ *
Performing Art 3Days, Teatro Rossi Aperto, Pisa (It).

by
Ad Hoc Group: Annie Abrahams, Daniel Pinheiro and Muriel Piqué.
With Ivana Gherbaz for the French-Italian translation.

Muriel, a choreographer from Montpellier, will guide a 12 minutes long choreographic gesture only using her voice in front of her webcam. She will describe, eyes closed, the bodily sensations she experienced during a choreographic sequence she developed based on simple daily activities in her private environment. Annie in Montpellier and Daniel in Lisbon will listen with their eyes closed in front of their webcams. All three will be united in one interface, that will be projected in Pisa in front of an audience. People in Pisa can watch the projection but also join the experience on the spot.
There will be no online audience.

Can we read this imaginary movement in people far away on the surface of a screen?
Can we share something as intimate as feeling a dance?

And does this sharing over time via machines connect us?

When we look at a projection of a face in close-up we enter an intimate space, an intimate space of looking closely into the subtle changes that occur. When we listen to someone sharing the feelings provoked by a dance, we sort of dream this dance, we think and feel it and this will open up to an interior of hitherto unexplored paths, the body shifting through careful guidance.

DM#1a
screencapture during the performance – more information soon.

*Prolegòmeni – explanatory dissertations introducing a theory, the subject of a study, a doctrine. Gómene – twisted hemp hawsers, mooring ropes for boats.
Hence: a line of words meant to validate other words, to unite or divide; a material line supported by gestures, to leave or land.

Filed under: networked performance, Performance, , , , ,

Esa – workshop plurimedia. OSP.

5/3 – 16/3 2018 Workshop plurimedia
La performance en ligne comme outil de dévoilement ? ESA La Réunion.
Aujourd’hui le corps humain est pénétré par les nouvelles technologies ; il est augmenté, prolongé, amélioré et surveillé par des applications. Le corps est contraint, maltraité, contrôlé et souvent oublié. Le corps qui libère, qui rattache le virtuel au réel et en sens inverse, qui fait médiation, qui est entre. Le corps qui n’est plus jamais seul, mais n’a pas appris à être avec, ce corps lié est le champ de nos recherches.

ESAMarche2
Plus de photos sur flickr – Merci aux étudiants, vous avez étés superbes.

textdynamics

Résultat d’une exercice d’écriture partagée : Textdynamics : Le corps humain est la surface par laquelle la machine a accès au réel ?

Open Source OSPedagogy Préparation Workshop ESA 9 pages .pdf Annie Abrahams.
Et voici quelques lien vers les carnets de travail assez différent d’approche de quelques étudiants:
https://meredithhoareaublog.tumblr.com
https://kmimai.tumblr.com
https://georgie-ganne.tumblr.com
https://villageniihl.tumblr.com
https://french-woman.tumblr.com

14/03 16h30 Rencontre avec Annie Abrahams Corps et nouvelles technologies.
École supérieure d’art de La Réunion, 102 Avenue du 20 Décembre 1848, Le Port, 97826.

Filed under: Conference / lecture, networked performance, Workshop, , , , , , , ,

distributed intelligence on the fly?

It felt as closely observing a test tube in an internet ecology experiment.

I finally watched the video of our performance Online En-semble – Entanglement Training. It was so nice and touching to hear the voices, to listen to the the different soundqualities and latencies, to see the changing pixelations and environments. It was interesting to observe how the performers act, react, respond, with objects, sounds and words and find ways to co-create with each other and the machines.

Screenshot-2018-5-12 Online-Ensemble - Entanglement Training

Near the end we had 5 minutes of silently being together online. Helen didn’t get the sign for the end and continued alone.

It was also very engaging to see the audience chatting life during the performance. Randal Packer called this a non-stop flow of online viewer commentary: a simultaneous litany of questions, responses, digressions, and interjections in Power to the Viewer, the article he wrote after his Art of the Networked Practice symposium, where this performance was a part of.

Here are some citations of the chat log that particularly stroke me today:

Alan Sondheim: There’s an odd calmness here, as if they’re dream images or freud’s magic slate at work

Jessica Laraine Williams: I almost feel as if we are neural nets being trained with various iterants of standard objects, as a reference library. The repetitive verbal cues sound like training signals

Martina Ruhsam: as if they would imagine this performance that just happened in their mind

ximena: what are they listening to?
Maria Chatzichristodoulou: silence?
Jessica Laraine Williams: the space in between
Jessica Laraine Williams: white noise
Randall Packer: silence
Jan R 2: they are listening to us
…..
Ng Wen Lei: 4’33
Johannes Birringer: lovely, a telematic re-performance

Maria Chatzichristodoulou: it is interesting that Kit Galloway and Sherrie Rabinowitz were also talking about experiments rather than performances as such, and considered training, rehearsal and performance to be the same

I would love to do a follow-up, to continue this entanglement training. I propose to keep this messy never ending unperfect strange conversation going …. it would be an example, a test tube for developping our empathy muscles over distance, to exercice in distributed intelligence.

Entanglement Training Online performance by Annie Abrahams with Antye Greie, Helen Varley Jamieson, Soyung Lee, Huong Ngô, Daniel Pinheiro, Igor Stromajer. Thursday 29 of March 2018 in the frame of Art of the Networked Practice symposium.
All project info (photos, protocol, collected phrases, reactions etc.)  bram.org/en-semble/

Filed under: networked performance, Performance, , , , , , , , , , , , , , , ,

… building an empathy muscle …

Online-en-semble – Entanglement Training.

Huong Ngô: I really liked how the score was based on everyday movements, so close to those incidental images we make everyday when we are on Skype etc, but having us do it together really made it into something poetic and more like dance. I thought of Yvonne Rainer’s work. Also, I was thinking a lot about this promise of internationalist utopia that Maria talked about, and where we are in the world today – people becoming more extreme despite or because of technology. The distance that technology affords is something that we now must train our bodies against. I felt like the act of listening, patience, and trying to be present was a way to build that empathy muscle.

Rob Wittig : a wonderful performance today — tactile and musical and spooky and friendly and distant and close!

entanglement training
Images and photos on flickr
Performance protocol.pdf
Video :

From the chatlog (Complete Chat log 64 pages):
-Johannes Birringer: Karina, i learnt much from Corpos Informaticos, they used a whole different set of simple tools that i began to appreciate in many ways
-Daniel Perseguim: yes, Beatriz Medeiros from corpos informáticos are changing the ways of performing, learning expressing… the tools are the simple language, the failures, the “gambiarras”
-Alan Sondheim: there’s an odd calmness here, as if they’re dream images or freud’s magic slate at work
-Maria Chatzichristodoulou: yes Alan, i was thinking it’s a calming experience watching this
-Alan Sondheim: Calming in the midst of potential revolution, disturbance –
-Jessica Laraine Williams: I almost feel as if we are neural nets being trained with various iterants of standard objects, as a reference library. The repetitive verbal cues sound like training signals
-Alan Sondheim: there’s an economics at work
-Marc Garrett: It’s DIWO in realtime!
-Maria Chatzichristodoulou: it is interesting that Kit Galloway and Sherrie Rabinowitz were also talking about experiments rather than performances as such, and considered training, rehearsal and performance to be the same

Filed under: networked performance, Performance, , , , , , , , , , ,

Open Source OSPPP (pedagogy, protocol, performance script)

AngerIs

22/03/2018. Today I was with 17 students ( Experimental Interaction) from the School of Art, Design and Media, Nanyang Technological University in Singapore. I had been invited by Randall Packer to prepare them for the upcoming Art of the Networked Practice online symposium.

.pdf protocol for my meeting with the students (online) – 4 online performance experimentations Fear – Love – Anger and Hope with an introduction.

Open Source  OSPPP (pedagogy, protocol, performance script), OSC (course)

More info : https://oss.adm.ntu.edu.sg/17s2-dn1010-tut-g05/syllabus/social-broadcasting

Filed under: Conference / lecture, networked performance, , , ,

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, , , , ,

Distant Feeling(s) #4

Screen shot 2016-11-24 at 10.27.26 PM

An online ritual of contemplation on our situation of being together while being separated.

December 1st, 7.30 – 7.45pm
(Paris time – find your time here).
Online.
Open to all.
If you want to join us, you need to install the zoom application on your computer or cell phone and connect from 7.25pm to meeting no 3210554238.
https://zoom.us/j/3210554238

Distant Feeling(s) #4, fourth session in a series of online webcam meetings trying to experience each other’s presence eyes closed and no talking.

Distant Feeling(s) #4, the first of a livelong yearly reconnection. An ever-changing re-enactment of our intra-action with machines.

Distant Feeling(s) is a project by Lisa Parra, New York, USA, Daniel Pinheiro, Porto, Portugal and Annie Abrahams, Montpellier, France.

The project was “born” in 2015 out of an invitation to Annie to be part of Lisa and Daniel’s work Placelessness – the result of an artistic residency in Guimarães (Portugal) of their LAND PROJECT – in an encounter where both Annie and Lisa shared a blind, silent moment together while connecting from remote locations; this ‘encounter’ gave place to a format of its own – one where the artists would meet and purposely, during a set period of time, repeat the experiment.

AnnieLisa

In 2016 we organised three different séances, each one providing insight into the specificities of the context where by silently not seeing, only hearing our surroundings and the machines working to keep the connection, a temporal space was created allowing for contemplation upon togetherness while being separated. The co-presence of machines and humans – a temporal phenomenon interpreted differently by all.

The memories of this state of being together created for Daniel, Lisa and Annie, who live far away from each other, a longing to experience it again, and again.

Filed under: networked performance,

Upcoming

  • 2/12-8/12 Alchorisma, Z33, House for Contemporary Art, Hasselt. Session de travail avec Constant.
  • 23, 25, 26 oct 2018, 7-9, 15-17 jan 2019. Constallations, 3G(enerations) avec Pascale Barret et Alix Desaubliaux. Soutenu par OUDEIS.

Find :

Join 71 other followers

Flickr bram.org


Annie Abrahams
%d bloggers like this: