net art, video, performance

Annie Abrahams

Digital Canon (1960–2000) of the Netherlands

Nice to find out my work Being Human (1997 – 2007) is part of the Digital Canon (1960–2000) of the Netherlands, yes!
With among others Michel Waisvisz, Martine Neddam, Peter Struycken, JODI, Peter Luining, Jan Robert Leegte, Steina, Jeffrey Shaw …

The Digital Canon was compiled by LIMA media art platform in 2018, in collaboration with Josephine Bosma, Martijn van Boven, Annet Dekker, Sandra Fauconnier and Jan Robert Leegte.
The primary objective of the project is to add these digital works to the collective cultural memory and to fuel the discussion about the selection and preservation of digital art. 

Experts from the field of digital culture selected twenty of the most prominent and influential works made on Dutch soil by artists who lived or worked here over a long period of time.

Being Human is the name of a collection of dynamic, interlinked, net specific works in which Annie Abrahams explores the possibilities and limits of online communication.

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Filed under: Exhibition, Net art, Of interest, , ,

alchorisma – queering optimisation


mineralmatter Alchorisma-stitching by Peter Westenberg. More stitchings.

From 2 – 8 December 2018 I had the pleasure to participate in a workshop organised by Constant Brussels. The worksession called Alchorisma* took place at Z33, House for Contemporary Art in Hasselt, Belgium.

trees, spirits, algorithms, stones, rituals, ghosts, witches, codes, analytics, AI’s, things,  shamanism’s, optimisations, walks, songs, propagations, meditations and queerisations
ᗶ = but gate = stop and raise a concern

I applied for Alchorisma, because during the residency Autorama / Exposition et automatisation with OUDEIS in July I learned to look at my use of protocols in research and performance as also related to automatisation. A kind of automatisation that didn’t determine outcome, but ruled behaviour – giving it constraints, while leaving complete freedom to interpretation. I saw alchorisma as an occasion to go further in these thoughts and to open myself up to other than failing rational and artistic approaches of ecotech problematics.

We were divers, of all ages and backgrounds and our first meeting in Hasselt was mediated by shamans. At the start I felt as if I was seeking solutions in concepts I never believed in, that were of the middle ages …, but … There are no solutions, only paths. For 6 days we all together, crossed, stiched, unraveled, mixed,  …

The best way to find out more about the special atmosphere  we were in is to watch Peter Westenberg’s stitchings and to read or listen to the Alchorisma Daily Reflections send to us from Japan by FoAM.

I have been touched, nourished, I changed (a bit), …

a spirit is not a thing, nor is it of the imagination, it’s all encompassing, everywhere, it relates things, trees, humans, stones and whatever … it is a consciousness of entanglement, of interdependence – if you experience it, everything becomes related – it is a mysthical feeling and I, Annie, can call this feeling by touching beautiful old “dying” trees.

how does it feel to be broken?
to be moulded?
to be round?
to be backed?
to be industrial?
to ly down?
to be carved?
to be pushed?
to be in a border?
to be the border?
to have a hole?
to be one of many?
to be made into?
to be among others?
close to another material?
to be erected?
to be square?
how does it feel to be of stone?
to be a stone?
to be stony?

pwWould it be possible to create an algorithm that included human behaviour?, that would evolve over time and in the process integrate aspects of the personnallities of all the participating individuals? With Marika Dermineur of Rybn we decided to run a small test. You can read more about this here : Performing Processes using algorithms / Performing Secret Alchorithms.
What we learned ?

Optimisation has pittfalls.

Let’s go for Queer Analytics.

Queer Analytics displaces, transposes thought, it is fun to do, is therapeutic for the participant and augments imaginative holding powers for the entangled damage. (my words)

I was so impressed by the session proposed by Femke Snelting during Alchorisma that in January 2019 I proposed a Queer Analytics session for Constallations. Also there and then the methodology convinced as “another logic”.

QÆ = (((♞H1H2F,⚕FNH,♥F)+(⚕IHF,♥H1H2FF)+(⚕IHF)+(♞H1H2F,♥H2NHIHFNH))*ae)/aK ? 🎊🎉

[H1Ωa, H2ΔΩ, H3Δ, H4ΔΩ,NHΔ≠,,IHΔE≠,,F©Ω]
♞ + ⚕ + ♥ [qHΩa©∃≠,qNHΩE©,qIH∃©,qFΩΔ©≠]

queering: non-identitary, non-essentialist, non-fixed lives → trans*feminist approaches // intersectional, not-only-human, antinormative, affirmative,

analytics (discovery, interpretation, and communication of meaningful patterns in data): a post-positive move. It is urgent to reclaim analytics in non profit experiments. Reclaim analytics as the practice of cutting complexity together apart. Take on both the injuries caused by analytics and also to take on how we might invent/generate/build on an analytics for trans*feminist work that stays with damage,

These textfragments come from the Queering the Damage at Alchorisma. It was based on Queering damage: methodologies for partial reparations… or not, a workshop in Hangar Barcelona by Helen Pritchard, Jara Rocha and Laura Benítez, oct 2018.


* Alchorisma alludes to the relationships between algorithms, charisma, rhythm, alchemy and karma. Alchorisma is a Constant worksession which looks at integrating cosmogenetic views with the charisma surrounding technology. We look at ways to infect existing algorithmic models with positions that acknowledge the importance of co-existence with non-human entities. (as announced by Constant)

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Avant. Il y avait encore tout à construire.

Du 29/10 au 3/11 2018 Ariane Cassimiro et moi, nous avons pu travailler au laboNRV à Lyon. Une courte résidence autour de la VR (Virtual Reality), la performance et la danse. Pour lire nos intentions c’est ici.
Presque tout de suite, après quelques tests de déplacement et danse dans Google Earth nous avons changé le titre. C’était avant la glace et les montagnes … est devenu Avant. Il y avait encore tout à construire. La VR, la terra incognita, demandait de se pencher sur sa technologie, les réglages par défaut du casque, des capteurs, mais aussi des logiciels à utiliser. Tout à construire. Ariane et moi, toutes les deux des immigrées en France l’ont abordé en tant qu’étrangères. En tant que corps non adaptés.

Nous avons testé d’autres outils, comme la composition de paysage live avec unity, le jeu dans une visite du The Lab et même les traceurs aux pieds dans un univers zombie multi-joueur.

Le déclic est venu quand nous avons commencé à tracer/dessiner nos corps dans le 3D avec Tiltbrush, quand nous avons utilisé les manettes pour dessiner nos mouvements pendant qu’on dansait seule ou à deux. Le corps se multipliait. Il y avait celui qu’on ressentait, celui dessiné dans l’espace 3D – autre, mais réel, à découvrir, à contourner, celui à regarder dans la projection en mouvement, celui présent en tant qu’ombre devant la projection et celui que parfois on touchait, qu’on entendait avec lequel on dansait, ou qu’on regardait danser/mouvoir.
Le trait, produit dans un mélange d’intérieur et extérieur VR, était magnifique, naturel, traduisant l’hésitation, le rythme, l’interaction. Il était aussi personnel. aDeux


Plus d’images (15) sur flickr.
La terra incognita domptée.
I would love to do workshops danser / tracer/ dessiner.

Vous pouvez manipuler nos univers sauvegardé en 3D ici :
Encapsulées :
L’astronaute :
àDeux :
Si vous avez un casque HTCVive vous pouvez aussi revisiter nos traits.

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

C’était avant la glace et les montagnes…

29/10-3/11 Résidence laboNRVC’était avant la glace et les montagnes …
Project VR (Virtual Reality), performance et danse avec Ariane Cassimiro.
Suite de Qu(o)i agence Quand .


C’était avant la glace et les montagnes, avant la lumière et avant le mouvement. Avant le corps, la chaleur, la pression, c’était avant que I & U parlent…
(merci à Valentin Godard pour cette phrase)

La VR sera abordé comme une terra incognita « classique », un fantasme, qui malgré son progrès technologique est mélancolique du nouveau, de l’inconnu, d’un monde vierge.
Nous souhaitons faire de l’expérience VR très solipsiste une expérience partagée et communicative.
Nous allons utiliser les limites et les frontières du VR par défaut, la narration instantanée et le dialogue, la participation du public, l’échange en improvisation entre l’opérateur informatique (l’interprète du logiciel Unity) et l’utilisateur VR. Nous allons relier l’intérieur de VR à l’extérieur et rester dans l’entre-deux de ces espaces.
Nous aimerions pousser nos réflexions sur la relation au corps et à l’autre dans le VR en utilisant des techniques de danse et des interventions live dans des environnements comme VRchat par exemple.
Le commentaire est pour nous un endroit important face à la VR. En dehors de la narration en direct et le dialogue nous voulons expérimenter d’autres voix, tester un débit/flux autre, un récit de rêve, de l’hypnose ou d’addiction.
Vaste programme – trop peut être?

Accueil studio, Les Subsistances, Lyon, 2018-19.

Avant. Il y avait encore tout à construire. Compte rendu 5 nov 2018.

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tienpooms fr eng ned

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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.


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.

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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.

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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

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.


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


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


“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 :

“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. :

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.”

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De-centralized Web?


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, , ,



  • 12/10 – 25/01 Exposition Angry Women take1 in Hadaly et Sowana, cyborgs et sorcières, l’Espace Gantner, Centre d’Art Contemporain, Bourogne.
  • Bientôt parution : L’Agency Art ou une Éthologie Participative dans des Environnements Artificiels ? dans LINKs série 1.

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Annie Abrahams
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