net art, video, performance

Annie Abrahams

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“).

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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.

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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.
  • 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

image001

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, , , , , , , ,

Networked Conversations

unnamedImage courtesy of the Third Space Network

After Videofreex and Kit Galloway and before Gene Youngblood I’ll be Randall Packer‘s third guest in the Networked Conversations series.

Saturday May 13th 6pm – 7pm Paris time. (Find your local time here.)

To participate you should go to the Third Space Network.
https://connect.ntu.edu.sg/thirdspacenetwork/
Select “Guest,” type your name, and “Enter Room.”

Networked Conversations is a series of live, online interviews and discussions hosted by Randall Packer. The series features media artists, curators, writers, and activists exploring a broad range of social, political and aesthetic topics at the intersection of net culture. Networked Conversations collapses geographical and cultural boundaries via participatory Internet chat: free & open & accessible from anywhere in the world.
For more information visit:
http://www.thirdspacenetwork.com/

mutant

labise

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

Co-incidences 18 – Yann Le Guennec

page20-21

Yann Le Guennec.
Co-incidences no 18.
Revue d’arts et créations.
ISBN 9781326828899

Avec :

Sylvie Bourguet, Annie Abrahams, Olivier Auber, Ann Guillaume, Antoine Moreau, Laurent Neyssensas.

p 41 – 50 version spéciale “who’s afraid of ? La vie en intelligence collective” – les archives – une pièce de théâtre en deux actes d’après un échange émail de 2005 entre les membres du groupe Lieudit.

Vous pouvez acheter Co-incidences 18 en version papier ou le regarder en ligne.

Je suis fière d’avoir participé à ce beau numéro qui rend hommage a cet artiste intéressant disparu trop tôt.

page50-51

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

Agency Art II

collectively made, refusing hierarchy, a knitting together of artists and performers in the moment of the event, erasure of the artistic ego, practice, changing rules, choices, connecting, accepting the unexpected, responsive, shared, collaboratively authored, open to all, working with temporal behavioral phenomena, healing, enactment, improvised, including environmental conditions, attentional strategies, instructions, protocols, apparatus, meeting, embracing the ordinary, rehearsing alternatives, re-hijacking therapy, exercising our relations to others, our social (in)capacities, exploring rituals, being together, participatory,
concerns individuals and politics

aa3

Agency Art seems to be a difficult term: too much bad feelings go with the word (NSA) ; too similar sounding to Art Agency, and so it triggers thoughts about commerce. Still I want to persevere. For years I used silently the term “behavioural art” to think about what I was doing – silently yes, because for someone trained in biology “behavioural” is a stained word. It turned out that for others “agency” is just as stained. But for me it’s  an empowering word, referring to Butler, ANT theory and Karen Barad.

Agency Art is beyond disciplines. It’s a point of view, an anchor point from where to think critically about (my) artistic practices.

Let me try, while forgetting temporarily all the theoretical implications, to mention a few projects, I would like to name of Agency Art : Darren O’Donnell‘s social theater works and his book Social Acupuncture which argues for an aesthetics of civic engagement, Miranda July‘s work Somebody, where text messages are delivered by a real person. Félix González-Torres Untitled (Portrait of Ross in L.A.) a 175 pound-pile of candy, from which visitors are encouraged to take samples, Eduardo Kac’s Darker than Night and Teleporting an Unknown State 1994/96, Marina Abramović: The Artist Is Present and 512 hours, where the public became the performing body, Yoko Ono‘s Cut piece, Gego‘s work on networks and space and a lot of Lygia Clark‘s multi-sensory participative work.

gegoretiulareafg-01126-ao-700x372 Gego, Reticulárea. 1981.

To find keywords for Agency Art I choose some specific examples (from fine art, dance, theater, music, performance, digital art and electronic poetry) : Deufert&Plischke’s work, LaBeouf, Rönkkö & Turner’s HEWILLNOTDIVIDE.US, Building Conversation by Lotte van den Berg, Deep listening by Pauline Oliveros, Poietic Generator by Olivier Auber, Lingua Ignota by Samantha Gorman and Walking Practices by Ienke Kastelein. (more info on each piece at the bottom of this post)

Why didn’t I include a relational aesthetic artists as for instance Rirkit Tiravanija who initiates ways to enable the public to be a part of the art-making process?
Because the public can’t make choices in his work – it is like a staged environment, which needs these people to make it alive, but does not give them any agency – they are not challenged to make choices besides being there or not being there.

Agency Art is art that makes it clear to the receiver via his or her body what is at stake, where opportunities for action lie, and which virtual* behaviours he or she can actualize. It demonstrates how choices work, and how to create patterns that retain their coherence while you remain part of them and transform when you move within their field of action. (* virtual understood as potentiality, not as a quality or in a re-presentable way) Mulder 2012.
(This refers to my first post on Agency Art.)

Agency Art is made of interaction, but should be constructed, looked at with intra-active glasses.
(This refers to a post on inter-intra-action.)

I still need to read a bit on Latour :) before I can write something about the many definitions, different, but related, takes on agency. Gell, Barad, Spinoza, Butler …

Read the rest of this entry »

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

Upcoming

* 4-9/12 Qu(o)i <=> agence <=> Quand Résidence Labo NRV, ENSBA Lyon et Les Subsistances, Lyon.

* 29/03 15h30 Online En-semble – Entanglement Training with Antye Greie, Helen Varley Jamieson, Soyung Lee, Hương Ngô, Daniel Pinheiro and Igor Stromajer, Art of the Networked Practice symposium, School of Art, Design & Media, Nanyang Technological University, Singapore.
* April, Residency Lingagens in Künstlerhaus Villa Waldberta, Feldafing, Germany.

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