INTERNET EXPLOREUR a été en ligne et actif à l’adresse Internetexploreur.com de 2020 à 2022. Maintenant fermé, l’archive consultable de sa dernière version, mise à jour pour la dernière fois le 14 mars 2022 a été mis en ligne par Lucie Desaubliaux sur github. Merci beaucoup Internet Exploreur.
Depuis le mois de mars j’ai travaillé avec plaisir à un commissariat d’exposition pour le projet Labo_Démo du Centre Wallonie-Bruxelles|Paris. Avec les deux autres commissaires, Clément Faydit & Rozenn Voyer du collectif Traduttore, traditore, nous avons sélectionné six artistes avec qui nous avons travaillé six fois en ligne. Puis nous avons résidé une semaine toustes ensemble à la Cômerie à Marseille. La mise en place de l’exposition/installation au Centre de Danse du Marais (très atypique) se fera également collectivement. Le processus de cet aventure, plein de belles surprises et de la poésie, mais aussi avec son lot d’obstacles et de malentendus est décrit dans une édition spéciale, disponible sur place. Merci à Axel Durand, Marrion Lissarrague, Duc-Thuan Nguyen, Clyde Lepage, Natalie Malisse et Zélie Péguillan.
Présentation performative d’Annie Abrahams aidé par quelques étudiants du département des études anglophones pendant le symposium Traduction et matérialité / What’s the matter in translation? Bilingual (at least) French/English symposium 8-11 juin, 2022. Université Paul Valéry Montpellier 3 Organizers: Paola Artero, Marianne Drugeon, Lily Robert-Foley, Julie Sauvage.
mattering ma matière patière – language is an activity What is an e-stranger? Kaj Mislis s tem? Et si je ne comprends pas les codes. That’s unaussprechbarlich. Can AI IA help with diffractive translation? T’es certaine que ça existe ?Il y a void que je suis.
…Oui, on peut traduire les 0, 1’s dans toutes les langues du monde… …Of course this is symplistic, pe ce ne sont pas les 0 et 1 qu’on traduit, mais la présence et non-présence de quelque chose qui a été symbolisé par des 0 et 1’s groupé par huit… …computer languages are languages, that we can learn and translate, and maybe even speak …. Mais, les informaticien.ne.s ne nous rendent la tâche pas facile.
a word is NOT a word WORD typedef unsigned short WORD;
The use of the word WORD is mystifying. It is obfuscating. It makes me mad…
prompt = “The matter in translation is” context = “short parts of the conference call”
…After the workshop I tried to generate French text on “traduction” and when I saw that didn’t work I continued with only English. In the end I chose two “poems” that were translated and read out loud by students of translation studies, while I danced on them…
Are their translations the result of Intra-action? Est-ce que l’IA peut être un outil pour une traduction diffractive …. ? Is the human processing of the AI texts producing moments of diffractive thoughts to appear?
Here is the walk through of my presentation as a pdf to download: matierepatiere.pdf
Here is the twitter tekst read at the start: gracias.pdf
You are welcome to join every first Monday of the month at 18h CET in a meeting between people who don’t use words to connect. A kind of conversation without words.
The sessions will start with a short introduction by one of the Utterings members. The “rules” for each session will be set by all who participate. There will be no audience only participants.
A link to the practice venue will be available one hour before from the practice page.
This is not about music or performance but about connecting beyond language.
2022 03 28 Best Practices, Mainz. Hydra, motion capture, VR, life coding, dance & BramTV.
#bestpracticesincontemporarydance is a digital dance practice developed between Jorge Guevara (Colombian based in Brussels. BE) – Naoto Hieda (Japanese based in Cologne. DE)
Since April 2020, almost every week, they stream, distort and alter videos of themselves using commercial and/or open-source software to blend their bodies in “pixel space”. The project is not intended to produce a performance; the practice itself is the outcome and the objective is to create a fluid, queer form of conversation between technology and bodies. As they say, they are practising resilience in times of uncertainty.
Because I, Annie, felt Myers & Wark‘s conversation contained a lot of interesting points that I didn’t really understand, I organized a reariting* of its publication on OUTLAND. I was/am struggling to comprehend issues around NFT’s, chains and DAO’s, and hoped reariting the conversation would clear up my mind. It worked, I learned a lot. A big thanks to my very generous co-reariters. Here is the .pdf to check us out:
*Reariting is the act of simultaneous reading and writing together on the Internet. Reariting is a feminist technique to think through a text together. While reading a text, all participants use the same framapad to write their reactions and asides related to the text, thus exploring their understandings and misunderstandings of it. Reariting is about thinking and learning, finding links, soft and blind spots, returning and kneading. It always starts somewhere in the middle, and somehow never ends.
how orthography expresses embodied linguistic intention./invention/revention. Convention. How correctness embodies/emboldens priviledge. The edge of meaning. The edge of our very selves/souls/ames. Summary of the reariting by Deena larsen.
Second Tuesday Salon Reariting session. March 8, 2022. 9 am MST, 11 am EST, 4 pm UTC, 5 pm Paris time. Duration 1 hour.
Reariting is the act of simultaneous reading and writing together on the Internet. Reariting is a feminist technique to think through a text together. While reading a text, all participants use the same framapad to write their reactions and asides related to the text, thus exploring their understandings and misunderstandings of it. Reariting is about thinking and learning, finding links, soft and blind spots, returning and kneading. It always starts somewhere in the middle, and somehow never ends.
//
Thus the Reading Club manifests itself as a facilitator for a diffractive, distributed intelligence on-the-fly, creating text and relational patterns that do not depend on canons. It generates creative and unexpected “outcomes”. These are, in my opinion, not so much the texts produced, as the “diffractive moments” experienced by the reariters. Diffractive Reading in the Reading Club, Annie Abrahams, 2019. https://elmcip.net/critical-writing/diffractive-reading-reading-club
In the article with Emmanuel Guez: The machinic author, published in JCWS (Journal of Creative Writing Studies) we formulate it a bit differently: She assists in an event that allows for diffractive moments (5) – i.e “a mapping of interference” which take her out of self reflexivity, out of systemised subjectivity, out of a world that only reproduces what it knows already into an intra-active diffractive worlding (6). The machnic author revealed herself as queer. Abrahams, Annie and Guez, Emmanuel (2019) ““The machinic author” Artist’s Statement: The Reading Club”, Journal of Creative Writing Studies: Vol. 4: Iss.1, Article 8. ISSN: 2474-2937. Available at: https://scholarworks.rit.edu/jcws/vol4/iss1/8
Tellement contente d’avoir retrouvé sur un vieux DD les fichiers html des InstantS; un projet d’écriture en ligne, proposé par moi pour le site panoplie .org ( 2006-2009). Les archives, les InstantPortraits de Nicolas Frespech, Jacques Perconte, Jean Pierre Balpe, Xavier Leton, Ami Barak, Olga Kisseleva, Marc Veyrat, Annick Bureaud, André Lozano, Annie Abrahams, David-Olivier Lartigaud, Etienne Cliquet, Philippe Castellin, Victoria Welby, Anne Laforet, Albertine Meunier, Luc Dall’armellina, Cyril Thomas et Antoine Moreau peuvent être lus à nouveau.
Je rêve de pouvoir faire un livre, un jour, avec cette écriture si particulière. Qu’est-ce qu’elle nous dit de l’époque que nous vivions? En quoi elle se distingue de tout autre écriture? Est-ce son caractère performatif qui la rend autre. (AA 2008 – 2022)
Pendant un mois un invité; artiste, écrivain, critique, chercheur ou autre activité en rapport avec internet, utilisait son portable et/ou ordinateur pour envoyer du texte au site de panoplie.org. Ce texte envoyé était instantanément visible sur la première page du site. A l’invité de décider comment il utilisera cet outil, cette présence par l’instant. La totalité des textes envoyés par l’invité formera son InstantPortrait.
InstantS était dérivé du projet Instants RSS de Nicolas Frespech, dans lequel Nicolas détourne un fil RSS* pour comme il le dit lui-même “vous envoyer des pensées, des morceaux de ma journée, des éléments, des liens hypertextes, tous ayant comme sujet l’heure très précise à laquelle cette information a été envoyée.”
*Un flux RSS ou fil RSS (“RSS feed” en anglais), sigle de Really Simple Syndication (souscription vraiment simple), ou de Rich Site Summary (Sommaire d’un site enrichi) est un format de syndication de contenu Web. Ce système permet de diffuser les nouvelles des sites d’information ou des blogs, ce qui permet de rapidement consulter ces dernières sans visiter le site.http://fr.wikipedia.org/wiki/Really_Simple_Syndication.
February 2, 2022 • 4:15 pmComments Off on the significance of maintaining online access to obsolete Adobe Shockwave Flash (SWF) files through the source code
Anna Mladentseva wrote an interesting article on conservation, archiving and performance of flash-based pieces. She mentions how I kept what was left of Karaoke (2006) on it’s original page, and included at the same page the Rhizome’s Conifer archive of the piece working but also have the original .swf and .fla files available on the website.
On conservation of netart, archiving, code and performance.
Anna Mladentseva (2022): Responding to obsolescence in Flash-based net art: a case study on migrating Sinae Kim’s Genesis, Journal of the Institute of Conservation, DOI: 10.1080/19455224.2021.2007412 https://www.tandfonline.com/doi/full/10.1080/19455224.2021.2007412
This article outlines an alternative method of migration facilitated by reverse engineering techniques—specifically decompilation—and foregrounds the significance of maintaining online access to the obsolete Adobe Shockwave Flash (SWF) files through the source code. On this premise, the source code is re-imagined as a site for further re-enactment, allowing a departure from its current role as a marker of ‘authenticity’.
net art, video, performance 
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