net art, video, performance

Annie Abrahams

LIF3STR3/\M – do you feel watched?

On March 4, 2018, while being in La Réunion FR (Indian Ocean), Daniel Pinheiro asked me to meet him on a surveillance webcam in Rue de Bleury, Montreal, CA.

He could not see me, but I could watch him online. We exchanged text messages, trying to discuss the possibilities of an architecture of surveillance as a form of agency between individuals.
Daniel edited the recorded surveillance webcam with the text we wrote :

Watching him on the surveillance cam during the exchange made me think of films made by Godard and Chantal Akerman.
Now I look at this video as showing a way to escape the standardized communication of the social media by using the spare time of a surveillance devise, showing a way to reinvent communication on our own terms. And maybe it’s also a piece on our relation – distant, by times “lonely”, but strongly connected.

This experiment was part of Daniel’s research LIF3STR3/\M.

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Filed under: Of interest, , ,

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).

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

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, ,

Frauen Theater Festival


Freitag 10.11.2017

16 Uhr        Performance: UNAUSSPRECHBARLICH – Annie Abrahams, (NL/FR) & Helen Varley Jamieson (NZ/GE).

4:30 pm      Forum: Women in movement; the challenge of integration: Body, language and immigration.

Antagon Halle, Orberstrasse 57, Frankfurt am Main.

Ones body and language also create ones identity. The role of the women differs from country to country and region to region. In the present moment of immigration, this silently accepted role suddenly is questioned. How does the concept of the woman change within different countries? How can these women, who are moving away from their homeland, react to this question? How do we, as women, move within the cosmopolitical world? To get to know another culture creates challenges, that we can only face individually.

The performance of the artists Abrahams and Jamieson deals with exactly this experience to live in between different cultures and in other countries.
Invited for a conversation: Annie Abrahams (biologist, net-artist and pioneer of thenetworking performance-art from Netherlands), Helen Varley Jamieson (writer, theatre-maker, digital artist from New Zealand and member of the board of Magdalena Project), Violeta Luna (performative artist and activist from Mexico, living in San Francisco), Ute Bansemir and Ewgenija Weiß (director of „theaterperipherie“).

Filed under: Conference / lecture, Of interest, Performance,

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 )

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

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.

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

Ours Lingages

21/07 2017 10.15 PM Performance Ours Lingages
Mosteiro de São Bento da Vitória, Porto.
during the Electronic Literature Organisation conference ELO 2017
Annie Abrahams featured artist
invited by Rui Torres and Sandy Baldwin

Performance in collaboration with Daniel Pinheiro, Isabel Costa, Igor Stromajer, Outranspo (Lily Robert-Foley, Camille Bloomfield, Jonathan Baillehache), Jan de Weille, Rui Torres, Helen Varley Jamieson,  Anna Tolkacheva and the readingclub.

Ours Lingages = a script – online poetry, language learning tools and collective writing + code + voice + dance + text + singing and a blindfold – unrehearsed.

You are welcome online for the associated session of the readingclub, where Helen is expecting you. Duration 30 min. For the complete performance you will have to be in Porto.

alienated

Ours Lingages. The internet is my language mother. I speak with a voice that’s not my own, I speak in other voices, not my voice. We are all e-strangers, all nomads that use globish bastard languages. We are the alienated translated (wo)men in-between code and emotion, in-between our wish to be visible and our longing for intimacy. L’entre-deux = void. Can’t we be “with” instead?
Translation is a joy as long as you can accept the imperfections of the result, are willing to learn, to spend time, to pay attention, to take risks and to accept your own incompleteness and glitches. Translation is always failing, faulty, it’s a source for confusion … and discovery. It opens a third language; another in-between, and then a fourth and … Better take nothing for granted and play with it. Be the one not looking at what something is, but at what something can do.
You have to accept (a FEW times). A few times. New language. Let’s try to be “with”.

Documentation – video etc.

Filed under: e-literature, Of interest, Performance, , , , , , , ,

What is and Why Agency Art?

murcia_largeEvery hour we move, we relax the body – Exercice during the online intervention.

18/06 2017 11h.
Networked performance art and engagement – What is and Why Agency Art?
Internet, Arte y Compromiso, Centre Culturel Puertas de Castilla (Murcia). Invitation Veronica Perales.

Download the document prepared .pdf

“Where can agency art be online nowadays in the time of social media, in the time of not choosing, but consuming, scrolling, being fed and harvested? In conversations, building trust and attention.
Examples : Third Space Network and Furtherfield.”

prepaMurciaPreparation for the event – exister en double – quadruple ….

More on Agency Art

Filed under: Conference / lecture, Of interest, , , , ,

more precursors – a kisstory

You can make a story of telematic communication by looking at how people experiment with distanced kissing over time. Can you?

Kit-Sherrie-composite-kiss_edit_a3txt_150_dc(Image from the collections of Galloway & Rabinowitz)

In 1975, five years before their groundbreaking Hole-in-Space piece, Sherrie Rabinowitz and Kit Galloway used a selfmade experimental setup in the Sony Salon on the Champs-Elysées in Paris. Kit had a key and so they could use it after the opening hours of the showroom.
Kit and Sherrie did a lot of “Aesthetic Research in Telecommunications.” When I visit the website that documents this, I recognize they discovered and practiced probably all formal possibilities of being together in a composite image space. A feast of recognition.
They used split-screen, key images, life tv-footage and sometimes props. In what they called the space with no geographical borders they wanted to get rid of all borders, the split-screen border included and the above image of their kiss is an excellent example of the sensuality the merging of image-ambassadors can provoke.

Later this technique was used by Paul Sermon in Telematic Dreaming, a ISDN digital telephone installation from 1993. Nowadays, Daniel Pinheiro in Will you dance with me?! (2017) starts working in this direction. Station House Opera (among others) in 2016 was also using this technique in the At Home in Gaza and London performance project.

A Telematic Kissing Timeline?

  • Early twentieth century Telegraphic Kiss. (postcard see at the bottom)
  • 1938 Facsimile telegraph transmission kiss (article in Popular Mechanics )
  • 1957 Jerry Lewis and Celeste Holm split-screen kiss – live via terrestrial microwave linked TV. Image, info, video here.
  • 1974  Nam June Paik and Shirley Clarke splitscreen kiss – technical design of the installation by David Cort of the Videofreex. Image, info here.
  • 1975 Kit Galloway, and Sherrie Rabinowitz composite image space, using Sony Salon technology – In 1977 they start experimenting with satelite transmission.
  • 1997 Annie Abrahams A kiss html kiss by a computer.
  • 2007 Annie Abrahams and Nicolas Frespech, One the puppet of the other, live split-screen internet performance.
  • 2008 Annie Abrahams and Mark River The Big Kiss. Durational performance in an split-screen installation.
  • 2011 “Kissenger” the world’s only kiss transfer device.
  • 2014 Lancel and Maat develop E.E.G. Kiss, a tentative to device a communal kiss.
Facsimile-KISS_Pop-Mecs_5-1938Image from the collections of Galloway & Rabinowitz  1938 http://blog.modernmechanix.com/telegraph-kisses-are-new-fad/
telegraphickisspostcard
Telegraphic Kiss Postcard – early twentieth century. https://www.theparisreview.org/blog/tag/vice/

Filed under: Of interest, , , , , , , , , , , , , , , , , ,

Another precursor of The Big Kiss

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A few days ago Kit Galloway after his Networked Conversation with Randall Packer in the Third Space Network send Randall what might be the very first attempted transcontinental split-screen kiss – live via terrestrial microwave linked TV.

Jerry Lewis in Los Angeles and Celeste Holm in New York (She was an actress and the mother of Ted Nelson, the inventor of hypertext)  opened the 29th Academy Awards – the Oscars in 1957 with an “akward”, prude kiss.

HalleckKiss

The other precursor was 17 years later in 1974 and was by Nam June Paik and Shirley Clarke. More about the discovery of this last version by the Videofreex here.

Filed under: Of interest, , , , , , , ,

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* Time to relax, to think about writing a book, about continuing Entanglements Trainings and how to develop distributed intelligence, and maybe VR.

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