net art, video, performance

Annie Abrahams

… building an empathy muscle …

Online-en-semble – Entanglement Training.

Huong Ngô: I really liked how the score was based on everyday movements, so close to those incidental images we make everyday when we are on Skype etc, but having us do it together really made it into something poetic and more like dance. I thought of Yvonne Rainer’s work. Also, I was thinking a lot about this promise of internationalist utopia that Maria talked about, and where we are in the world today – people becoming more extreme despite or because of technology. The distance that technology affords is something that we now must train our bodies against. I felt like the act of listening, patience, and trying to be present was a way to build that empathy muscle.

Rob Wittig : a wonderful performance today — tactile and musical and spooky and friendly and distant and close!

entanglement training
Images and photos on flickr
Performance protocol.pdf
Video :

From the chatlog (Complete Chat log 64 pages):
-Johannes Birringer: Karina, i learnt much from Corpos Informaticos, they used a whole different set of simple tools that i began to appreciate in many ways
-Daniel Perseguim: yes, Beatriz Medeiros from corpos informáticos are changing the ways of performing, learning expressing… the tools are the simple language, the failures, the “gambiarras”
-Alan Sondheim: there’s an odd calmness here, as if they’re dream images or freud’s magic slate at work
-Maria Chatzichristodoulou: yes Alan, i was thinking it’s a calming experience watching this
-Alan Sondheim: Calming in the midst of potential revolution, disturbance –
-Jessica Laraine Williams: I almost feel as if we are neural nets being trained with various iterants of standard objects, as a reference library. The repetitive verbal cues sound like training signals
-Alan Sondheim: there’s an economics at work
-Marc Garrett: It’s DIWO in realtime!
-Maria Chatzichristodoulou: it is interesting that Kit Galloway and Sherrie Rabinowitz were also talking about experiments rather than performances as such, and considered training, rehearsal and performance to be the same

Filed under: networked performance, Performance, , , , , , , , , , ,

Training Entanglement with whom?

With amazing artists and machines, cables and you.

cap7

With Igor Stromajer, the pseudo-artist, who inspired me when in 2001 he started his famous Ballettikka Internettikka online performance series. We met in 2006, when he came to Montpellier to perform an Oppera Internettikka with me and a mezzo-soprano in the Opéra National de Montpellier Languedoc Roussillon. Over time we continued to collaborate actively in projects as The Big Kiss, Angry Women, HuisClos/No Exit and Beyond (spectacle) among others.

With Antye Greie (also known as AGF), a renowned composer, music producer, sound artist & curator, poet, feminist and activist, that I respect deeply. I performed 13 short performative conversational meetings online with her. We talked about html, wind, pixels, law, mothers, key frame, snow, philosophies, fruits, thinking and islands, humans and words, nuts, recording quality, law, shopping, wind, patriotism, love, ocean space, sound rate, communism, dancing, languages and salad, family and future. She also was a very active participant in the Angry Women project. We never met for real.

With Soyung Lee from South Korea who I never met for real neither, and with whom I never performed before. In 2016 I discovered her enchanting work Displaced when researching language practices and art. I tried to write about this hybrid performance and asked her some questions that are published here. Now she participates. Yes!

With Huong Ngô, an American artist, who I first met when I was in New York in 2010 for a Rhizome event and The Big Kiss performance with Mark River in OTO. Accidentally we met again some years later in Paris at an opening. We share an interest in the entanglement of language, identity and power relations and I admire the way she connects personal and political histories using a conceptual, interdisciplinary, and often collaborative approach. See for instance The Voice is an Archive or The Silent Period. Now we collaborate for the first time. Yes!

With Daniel Pinheiro, a Portugese video artist interested in telematics performance, who I met last summer in Porto where he participated in my ELO keynote performance Ours Lingages as singer, dancer and computer operator.  We had been collaborating before in the Distant Feeling(s), a tele-shared experience project (with also Lisa Parra), after I once participated in their LAND project. I especially appreciate the always very interesting observations and analyses he writes down. We will continue collaborating for sure.

With Helen Varley Jamieson, who coined the word cyberformance. I share a project called unaussprechbarlich and a book called Cyposium – the book with her. We had numerous online encounters in different online venues as for instance the Upstage platform, that she co-initiated. Helen is a feminist and a very fierce defender of the use of open-source software.

Many thanks to Randall Packer the symposium chair who made this possible!

Online En-semble – Entanglement Training
Live Online Performance Thursday, 29 March 2018, 7am-10am CDT / 8am-11am EDT / 2pm-5pm CEDT / 8pm-11pm SGT
In the frame of Art of the Networked Practice | Online Symposium – Social Broadcasting: an Unfinished Communications Revolution, School of Art, Design & Media, Nanyang University, Singapore (29 – 31 March 2018, a collaboration between the School of Art, Design & Media, Singapore; LASALLE College of the Arts, Singapore; and The School of the Art Institute of Chicago, Department of Performance, USA).

Filed under: Conference / lecture, Event, Performance, , , , , , ,

Online En-semble – Entanglement Training

Online En-semble – Entanglement Training.
Online performance with Annie Abrahams (NL/FR), Antye Greie (DE/FI), Helen Varley Jamieson (NZ/DE), Soyung Lee (KR), Huong Ngô (HK/USA), Daniel Pinheiro (VE/PT) and Igor Stromajer (SLO/DE)
In the frame of Art of the Networked Practice symposium, School of Art, Design & Media, Nanyang Technological University, Singapore. Chair by Randall Packer.

Training2Training1

In this new work we investigate how to be together in a connected world, where machines and humans have to communicate accepting partial overviews, glitches, time-lags, disrupting audience participation and ensuing disorientations. Abrahams considers the intra-active webcam performance situation a good apparatus to train and demonstrate entanglement. She wrote a script for seven performers with different cultural backgrounds. They will defy their own and the others’ ideas on performance and online politics in a conversational performance. In order to avoid chit-chat and to get rid of the distracting images of the faces she proposes to converse using objects, prepared phrases and voices. During the performance they create together a changing composition with the objects and improvise a sound environment with their voices and phrases. Because they share the responsibility for the performances’ acoustic and visual appearance it will be interesting to see how they negotiate their individuality and personal thoughts in this environment where they all have equal power. Contradictions, maybe even oppositions, as well as poetry can emerge in this collectively created complexity, where machines facilitate but also prevent. The performers research the limits and possibilities of their own agency in an attempt to be “with” while being separated.

Program of the day:
8 pm SGT Introduction by Randall Packer.
8.15 pm SGT Maria Chatzichristodoulou keynote Live Art and Telematics: The Promise of Internationalism
9.30 pm SGT Online En-semble – Entanglement Training Live networked performance
10 pm SGT Post performance roundtable
This is Singapore time. Find your own time here.

How to connect for the performance (you will need 5 min to prepare).

Disentangling the Entanglements article on our preparations by Randall Packer

Web page with information about preparations, protocols, text, video, images and later the archives.


Latency Training.

Filed under: Performance, , , , , , , , , ,

Ours Lingages – Documentation

Ours Lingages
Performance by
Annie Abrahams concept, script, reading, singing

with
Daniel Pinheiro computing, dancing, singing, video editing
Isabel Costa dancing, reading
Igor Stromajer {0§n–3¦é×F= Miá†} soundpoem in Portuguese
Outranspo – Lily Robert-Foley, Camille Bloomfield and Jonathan Baillehache reawriting
Jan de Weille reawriting
Rui Torres translation
Helen Varley Jamieson tchat queen
Anna Tolkacheva live video capturing
Public volunteers holding Isabel Costa upside down
All breathing

21/07 2017 10.15 PM, Mosteiro de São Bento da Vitória, Porto,
Electronic Literature Organisation conference ELO 2017.

Announcement

Script .pdf

We nooses tous des bastardi elettronici che usano lingue globali cinematographic archive of the readingclub session.

internetMae

Read the rest of this entry »

Filed under: Collective writing, Conference / lecture, e-literature, Performance, , , , , , , , , , , , ,

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, , , , , , , ,

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, , , , , , , , , , , , , , , , , ,

An organic acceptance of silence?

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liminal space – pure motion – an intimate regard – a field of light – dissolved, destabilized – an altered state – a telematic embrace – a silent small reprieve – hanging out with friends – machines conversing across the network only when the noisy humans finally shut up

This was the first time we (Daniel Pinheiro, Lisa Parra and Annie Abrahams) invited people to join us in our online performance experiment Distant Feeling(s) #3. The performance was projected as part of the festival Visions in the Nunnery gallery (London).
After the performance the surprise was great when, in the video, I saw the silent faces of others joining us for a shorter or longer time.

How does it feel to share an interface with eyes closed and no talking?

How did it feel?

When you participated, when you took the time to connect and join, you tried to feel the others and became more and more concentrated on being in a liminal space.

Watching the projection or the video, you could see this concentration, these faces who more and more descended into “pure motion”; these faces that abandonned real space and got elsewhere – you were allowed an intimate “regard”.

Here is my reaction (e-mail to Daniel and Lisa) just after the performance : “Felt “lost” – disturbed by the idea that there were “sneekers, peekers – disturbed also by my own curiosity, by my wish to see who was there and how they looked with closed eyes.
I felt light, as if I were in a field of light, changing, living light, not with human beings, and probably because that frightened me I tried to visualize you both, to imagine, how, where you were, I tried to make something I could understand of what I felt – as if you were familiar to me – I never met you – but still, apparently you became reassuring, close.
When I opened my eyes, everything became normal, just people, nice people around me on a screen. They have become more familiar now too. Looking at the screenshots of this session I feel grateful for their presence (they made the light).

Disolved I felt.
Maybe even empty. Certainly destabilised.
This may sound mystic, but in fact it might have been a very concrete experience – just the light flickering of the in- and out-going participants shimmering through my eyelids provoking an altered state?”

This is Randall Packer‘s reaction to it in a facebook discussion afterwards : “It was wonderfull – Like your work The Kiss, or Paul Sermon’s telematic pieces, the sensation of intimacy is never “real,” it is based on the willingness to believe and to allow closeness to become “real” despite separation. For those who participated in this experiment, it was exactly that: the willingness to suspend one’s belief in the knowledge of the virtual proximity and connectiveness of the others. It is that knowledge that can can be convincing enough to suspend disbelief and thus be silently wrapped in the telematic embrace. This work is a great model for how we might conduct ourselves on the Internet.”

Johannes Birringer on the same occasion. “I was waiting for silence to fall, after the chatter. when it occured, there was no embrace. but a faint sensation of sharing a silent small reprieve, over the constant noise and anger of the world, but an alonesilence as one could not see the others. it is the strangest experience, to be alonesilentblind with assumed others somewhere out there.”

And Nicolaas Schmidt called it “hanging out with friends…”.

Ruth Catlow, who was among the public at the Nunnery remarked : “Was it machine feedback… that mechanical clicking and beeping? The machines conversing across the network only when the noisy humans finally shut up! Like the toys that come alive in the magic toyshop when the children are asleep. I wanted it to get louder and louder till the whole world rang out- WE MACHINES ARE HERE AND WE ARE COMMUNICATING!
To what Randall reacted : “I love your observation that once the network is silenced of human conversation, all that is left is the hum of networked devices, the “nervous system” of the Net.”

Daniel Pinheiro compiled more reactions on Landproject.

On January 16th 2017, Muriel Piqué watched the video and wrote :

Silence / Silence
Je fouille l’image du silence / I explore the image of silence
Des têtes se tournent lentement / Heads turn slowly
8’44 un chien aboie au loin / 8’44 a dog barks far off
Je lis la résistance des corps à l’immobilité / I read the resistance of bodies to immobility
Je ressens l’acceptation organique du silence / I feel the organic acceptance of silence

And all the time the machines kept talking, exchanging data, making noise …

Some time ago I watched an interview by Gretta Louw with Sandra Danilovic in Second Life. They talk, among others, about our readiness to relate to an avatar in a bodily and emotional way. Why? Is there an evolutionary base for that? Sandra states, that, in our subconcious, we don’t percieve the self as an atomised individual identity, that precognitively we percieve the environment as a part of ourselves. Would such a thought be helpfull to understand better what happens? And is it true?

Filed under: networked performance, Performance, , , , , , , , , , , ,

Distant Feelings #3 – VisionS.

Thursday 24 Nov.
6.30 pm London time, 19h30 Paris time.
Duration 15 min.
Timeconvertor for other places.

To participate Download the zoom.us application https://zoom.us/download – desktop or other devices – and “Join meeting” ID = 630407193: https://zoom.us/j/630407193 .

VisionS in the Nunnery Programme 2 Launch.
Curated by Tessa Garland and Cinzia Cremona.
The Nunnery, 181 Bow Road, London E3 2SJ.
Visions full programme. (5/10 – 18/12 2016)

visions_002

Lisa Parra in New York, USA,
Daniel Pinheiro in Porto, Portugal and
Annie Abrahams in Montpellier, France
will gather in an online séance trying to experience each other’s presence.

How does it feel to share an interface with eyes closed and no talking?

You can participate in this digital mindfulness experiment.
Download the zoom.us application – desktop or other devices – and “Join meeting” ID = 630407193: https://zoom.us/j/630407193 at the right time.

Some members of the public at the Nunnery will also be able to join in.

visions-logo-large

The piece presented by Annie Abrahams (Distant Feeling(s) #1) continues the research of an artist who challenges the relational utopias attributed to the internet by creating performances which reveal empty yet precious moments, and the banality of interpersonal relations. The performance links Abrahams to two other artists (Daniel Pinheiro & Lisa Parra); from three different locations the three seek to communicate sensations and emotions. Cinzia Cremona (one of the curators) in ARSHAKE  Oct. 3 2016.

Filed under: Event, networked performance, Performance, , , , , , , ,

Distant Feeling(s) #2

distantFBerlin
Testing the interface July 24 2016

On the 26 of July 2016
Lisa Parra in Los Angeles USA,
Daniel Pinheiro in Lisabon Portugal and
Annie Abrahams in Montpellier France
gathered in an online séance trying to experience each other’s presence with closed eyes.

Distant Feeling(s) #2
Online
: 21h45
Duration 30 min.
Livestreamed directly to reSense #1
Thanks to Olivia Jack (artist and webrtc developer)

Berlin :  20h30 (after BadaboomBerlin BadaBodypaint)
reSense [movement, performance, technology, art] Festival
SPEKTRUM – art science community
Bürknerstraße 1
12047 Berlin

What are we? When are we? Where are we?
We, we we we is what?

When meeting online we face a lack of references that usually define the perception of ‘being’ somewhere at a given time. This object aims at discussing, within the possibilities of networked performance, the mediation itself by removing the fundamental sense that allows connectedness to happen. In a mainly visual rationalized culture we question the following: what are we then left with?

With a sense of proximity ? Intentions of provoking a telematic coordination of movements diluted into a journey of each individual approach on experiencing a shared moment in time? What time?!

Rules for a Distant feeling(s) encounter:
– put the timer on 30 min
– close your eyes
– try feeling the others presence, try provoking their presence, find out what is present
– when timer goes off we open our eyes and just watch for a minute.

Overview : videos, photos, notes on the Distant Feeling(s) project.

 

Filed under: networked performance, , , , ,

Distant Feeling(s) – séance #1

Distant Feeling(s) 17min35 Edited video available for projection, installation, exhibition. Contact landv0dotproject@gmail.com or bramdotorg@gmail.com

March, 4 2016.
Daniel Pinheiro in Porto, Annie Abrahams in Montpellier and Lisa Parra in New York  tried to experience the others presence online with eyes closed and no talking.

Meeting Lisa and Daniel.
Yes we met. In space. Where? In my body maybe?
I was trying to much. Maybe. Why did I look more up than down? Was there, where we were, more up in the sky than here down? I was imagining I might be able to provoke an action, a telematic coordination of movement. It didn’t happen. Slowly I went from the outside to the inside. I was with them on the floor of Lisa’s dance studio. I could feel them. Bullshit of course. There was nothing to say when we opened our eyes.
I would like to do it again, I would like to see what would happen a second time.
Was Lisa crying near the end?”
Annie Abrahams

“I did cry.
I too was imaging myself lying on the floor. it was an inner journey of images, desires, dreams, feelings of sadness and happiness
it was special, it was a special moment in time.” – Lisa Parra

“It made me think of meeting strangers inside an elevator that gets stucked. Where my mind traveled many places trying to understand where was I in relation to these other two persons. Were they there still?! The urge to open my eyes was suddenly erased by the warmth of the sun in my face… here… and back to them … there.
it constantly made me feel that I was there because they were also there, suddenly instead of facing them it was about these three silent bodies “looking” at something else.
the intimate space of silence is awkward. the absence of time and space is endless and infinite”
 – Daniel Pinheiro

More reflections, a video screencapture – raw and score here.

Lisa Parra is a choreographer, performer and video artist.
Daniel Pinheiro is a media artist and performer.
Annie Abrahams is a net artist and performer.

Filed under: networked performance, Video, , , ,

Upcoming / ongoing

  • May 24 – August 2, Séparation in Afterflash exhibition, ELO’s The NEXT
  • 24-28/08 Constallationz : la matinale, 3 émissions radio, Résidence Espace Gantner, Bourogne.
  • 19/05 – 19/11 2021 Moving Paintings (1998), Sans Objet, Centre Pompidou.
  • PWEM, Art was only a substitute for the Internet, The Wrong Biennial, 2021-2022.
  • Distant Movements with Muriel Piqué and Daniel Pinheiro – ongoing
  • End of 2021 Distant Feelings with Daniel Pinheiro – yearly reconnexion

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Annie Abrahams
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