net art, video, performance

Annie Abrahams

tienpooms fr eng ned

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Filed under: Of interest, , , , , ,

mushroom potentials / art-sci

Last week we used Jan de Weille‘s ECG (electrocardiogram) equipment to do a quick experiment. Gaspard and Sandra Bébié Valérian of art-act were starting a new project on mycelium and asked Jan (a scientist, who had also worked on sonification of electric fish and motoneurones) some questions about sonification of champignons.

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An image of our first experiment. Jan thinks we just mesured the apparatus’ imperfections. (We had no idea about the response range nor about delays.) I was excited to see the potentials change when I talked to the mushroom, and Gaspard was excited about all. We had a nice range of reactions from scientific to almost chamanic.
Wondering what this tells about art-science projects.

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

Jiji and J.R.

JijiJRTwo books of two friends, female friends, friendins, friendxx …
I present both books together, because, the authors could be interested to meet the book of the other.

Both books make you read differently.

Once upon a [‘high’, ‘spring’, ‘slack’, ‘neap’] tide we
[‘drifted’, ‘coasted’, ‘slid’, ‘slipped’, ‘tacked’] past a [‘bay’,
‘beach’, ‘cape’, ‘cove’, ‘dune’, ‘lagoon’,]

An Ocean of Static by J.R. Carpenter, Penned in the Margins, 2018.

Crahsh. L∅j drpp∅d ah mirrr pahinting n th∅ jjr. AH shrn ahbiss wh∅r∅ th∅r∅ hahd b∅∅n nji sahnd. AH hj∅ in th∅ b∅ahch. Jiji jah∩gh∅d.

Jiji by Lily Robert Foley, Omnia Vanitas Review, Sept. 2016.

On page 4, all o’s are removed.
On page 17, all j’s and l’s are exchanged.
On page 22, h is added to a’s (ah).
On page 94, y is replaced with i.
On page 100, u is replaced with ∩.
On page 123, e is replaced with ∅.

Jiji has its own rules which are transforming the book into a reading machine. The “code” is given from the start.
When I first leafed through the book I was skeptic “It looked impossible to read”. But it wasn’t, my brain adapted and became entangled with the lovers in this “roman à clef”. Incredibly how plastic our brain is, how much of reading is convention, incredible how fast you can learn a new code. I preferred the tragic story, its content mirrored through its form, to the machinic end. Not brave enough. I don’t regret. Jiji stays with me.

J.R. Carpenter also clears the coast at the start in her note to the reader.
This book is made of other books. The poems in this book are composed of facts, fictions, fragments, and codes collected from accounts of voyages undertaken over the past 2,340 years or so, into the North Atlantic, in search of the Northwest Passage, and beyond, into territories purely imaginary. These poems are intended to be read on the page and to serve as scripts for the live performance of a body of web-based works. They retain traces of the syntax and grammar of code language the dense, fragmented archive of the North Atlantic into an astonishing sea of fresh new text.

In An Ocean of Static form and content are also intimately linked. I was again initially skeptic; the book looked so austere.
I like to “play” between choosing an argument and comparing them among themselves. J.R.’s variable texts read as code, as poetry, as a game, and they are deeply strangely personal. They leave me space to be in/with the ocean of noise, hearing faint voices and splinters, that sometimes I recognize as from the past, however are always first-most hers. This is what we are made of. This is what we are. This is how we can speak without ignoring what was. This is how we are entangled with machines.

In this constantly shifting sea of variable
texts a reader will never wash ashore on the same island
twice… and by islands, I really do mean paragraphs.

Et puis : Un poème d’un autre amie: Camille Bloomfield.

Be brave! Other recommended Summer reading : Allison Parrish and Gabriele d’Annunzio.

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

Minimal English – metalanguage

Could un unbiased conceptually neutral investigation of how people see the world exist? How to share diversity?
(This post is copied from http://e-stranger.tumblr.com/.)

rightWrong
English is not an international language and it is wrong that scolars use it as if it is.

Describing diversity is impossible if you use English, you need a metalanguage.

Depression is an English concept. NSM makes it possible to talk about it.

Anna Wierzbicka cited from :

In this video she explains, she has nothing against people being naturally imprisonned in their language, but that she opposes scolars’ and for instance also politicians’ thoughtless use of it.
I read Anna Wierzbicka’s book Imprisoned in English: The Hazards of English as a Default Language, because I can imagine that this indeed might be a problem.

brother

Moreover the blurp for the book promised Anna Wierzbicka had a solution.

shared

NSM (Natural Semantic Metalanguage) has 65 primes (a human conceptual vocabulary) and a simple syntax.

primes

“Minimal English is a new derivative of the Natural semantic metalanguage research, with the first major publication in 2018. It is a reduced form of English designed for non-specialists to use when requiring clarity of expression or easily translatable materials. Minimal English uses an expanded set of vocabulary to the semantic primes. It includes the proposed universal and near-universal molecules, as well as non-universal words which can assist in clarity. Minimal English differs from other simple Englishes (such as Basic English) as it has been specifically designed for maximal cross-translatability.” From : https://en.wikipedia.org/wiki/Natural_semantic_metalanguage

“There are two kinds of English words.
Words of one kind are like this:
if someone says something with these English words,
many people in many places on Earth can know well what this       someone wants to say.
There are not many words of this kind.
When someone says something with English words of this kind, this someone is saying it in “Minimal English”.

When someone says something in Minimal English,
people in many places on Earth can know well what this someone wants to say.
At the same time, people in these places can say the same thing with other words,
not English words.”
From “Global English, Minimal English: Towards better intercultural communication” Cliff Goddard and Anna Wierzbicka 2014. : http://hrc.cass.anu.edu.au/sites/default/files/hrc/u78/Global_English_Minimal_English%20position%20papers.pdf

Ps “Minimal English has no priviledged status as a conceptual mini language of human understanding. From a conceptual point of view, Minimal Spanish, Minimal Chinese, or Minimal Arabic would of course do just as well.”

Filed under: Of interest, , , , ,

De-centralized Web?

crac-banner_d

The Big Kiss (2008) and Angry Women (2012) are shown together with Michael Szpakowski’s, House and Garden (2009) during the Decentralized Web Summit in San Fransisco.

August 1st and 2nd,
San Francisco Mint,
88 5th Street, San Francisco, CA.

For Ruth Catlow, who curated Furtherfield’s screening room as a part of the “creative track” programmed by Sam Hart and Mindy Seu for DWS, these 3 artworks exemplify an attitude to artmaking particular to the Web before the great centralisation – these are works that speak from the origins of the P2P movement, a time in which communities began to form around new modes of networked interaction.

The Internet Archive’s Decentralized Web Summit is dedicated to creating the web we want [and the web we deserve]. We are convening those who want to build a web that…
Remembers. Forgets. That’s safe. That cares about people. That’s a marketplace. That’s a public square. That learns. That’s magical. That’s fun. A web with many winners. A web that’s locked open for good.

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

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.

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

image-122

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, , , , ,

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Annie Abrahams
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