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’.

Filed under: Articles / Texts, Net art, Of interest, archiving, code, conservation, flash, net art, PAMAL, performance, Resurrection Karaoke

3G Constallations #10 + méthodologie

One year ago we: the group 3G(enerations) Alix Desaubliaux, Pascale Barret and Annie Abrahams, started a research project called Constallations. Using challenges and surprises, we defied each other in nine sessions of what Annie called contemporary net art, Pascale a non-binary inclusive laboratory and Alix performative & collaborative explorations.

ISELP, Institut d’Art Contemporain, invited 3G to come to Brussels for their 10th, this time real-life, session.
Saturday, Mai 25, 16h you are welcome to meet the three artists and Sandra Bébié-Valérian of OUDEIS at the Boulevard de Waterloo in Brussels.
Sandra will give a short talk where she analyses the project in the frame of OUDEIS’ Autorama project. Pascale, Alix and Annie will present their recently written Methodology of Constallations* and will try to translate it’s essence to the real space of the exhibition Waiting to blossom *Constallations by Pascale Barret.
Could be an object, a performance, a reading, a text, an installation …. or a mix of all this.

Constallations is devoid of a goal and has no predetermined path. Constallations is what we are when we give up our personal objectives and, when, based on our own history and skills, we tackle a challenge prepared by one of the group.
Constallations is made of travels through things one doesn’t control, of jumps in the void. Constallations is an exploration full of unexpected discoveries.
Constallations is a learning tool / a practice radically open to everything.
Constallations is a concrete utopia – on a small scale, and temporary, it must be said – but it is, and so carries a hope for a different society.
It’s a perspective.
Constallations is a path, an adventure, a chemistry, a soup that upsets habits and creates links.

Wall installation Constallations à L’ISELP

* The Methodology of Constallations will also be available in English and French on the Constallations website after the 25th.

Filed under: Event, Exhibition, 3G, Alix Desaubliaux, Annie Abrahams, Constallations, ISELP, net art, Pascale Barret, research

Web Retro – I only have my name.

I Only Have My Name | 나는 내 이름만 가지고 있을 뿐이다 (1999)
Annie Abrahams| 애니 아브라함스
will be presented in
WEB-RETRO / 웹-레트로 展
12 March – 9 June 2019.

This exhibition focuses on the World Wide Web, which has been fundamentally reconditioning communication, image production, consumption and artistic practice for the last 30 years, and revises the new arts that have been tried through the net historically.

An exhibition to commemorate the 30th anniversary of World Wide Web and to illuminate the works and activities based on the internet / experimental works of art using the internet as the form and environment of art.
The purpose of the online archive is to construct a topographical map that can explore the contemporary, cultural, and technological context of internet art, to supplement the exhibition of art galleries contextually and to share information about the flow with a longer breath. 

200 Works of 167 artists, ranging from past attempts at internet art to recent art works based on network and online, are classified by period to provide a foundation for deeper research.

SeMA 립미술 Seoul Museum of Contemporary Art, Seoul 2, Project Gallery 2.

Filed under: Exhibition, I only have my name, identity, net art, SeMA, WWW

#nfcdab

I want / Je veux / Ik wil – net art
Watch, misschien zie je wel iets – protocol
Two pieces for

Near Enough? – 3rd near-field communication digital art biennale, #nfcdab
5-12 August,
Tolhuistuin, Amsterdam.
Opening: Sunday 2pm on 05-08-2018

#nfcdab is a do-it-youself or do-it-with-others? digital art biennale that travels on wireless technologies, light waves and electromagnetic fields to access content. The idea of the biennale is to take advantage of the potential of near-field (mis)communication and other sharing technologies for making web-based digital art accessible in outdoors settings to slack-keep presence.

Filed under: Net art, Performance, #nfcdab, browserbased, net art, protocol, Tolhuistuin

#ReadingClub #McKenzie Wark #ARPANET dialogues

Organised with Furtherfield two online performance sessions of the Reading Club
8pm London time

October 21st
Session  based on a chunk of A Hacker Manifesto by McKenzie Wark.[version 4.0]
with Aileen Derieg, Cornelia Sollfrank, Dmytri Kleiner and Marc Garrett.
Recording and chatlog :
Hacking – The Hacker Manifesto

October 22nd
Session  based on a part of one of the ARPANET dialogues from 1975 -1976.
with Alessandro Ludovico, Jennifer Chan, Lanfranco Aceti and Ruth Catlow. They reenacted this historic collision in a contemporary context.
Recording and chatlog :
Postinternet is net.art’s undefined bastard child – ARPANET dialogues

Reading Club  proposes a text and an interpretive arena to 4 readers. These readers write together their reading of a text inside the text itself. The audience sees an evolving, cinematographic picture of thoughts and collaborative writing in the making.

Reading Club is

* an intertextual play and an interpretive arena

* a device to explore reading on the web

* a factory of moving texts

* testing (once more) the status of the author

* a place where the public has a voice

More info also in English : readingclub.fr/info

ReadingClub is supported by Dicréam.

Filed under: Collective writing, Performance, Aileen Derieg, Alessandro Ludovico, ARPANET dialogues, Cornelia Sollfrank, Dmytri Kleiner, Furtherfield, Jennifer Chan, Lanfranco Aceti, Marc Garrett, McKenzie Wark, net art, postinternet, Reading Club, ReadingClub, Ruth Catlow

qui suis je? 1999 – 2010

*Image : Crowd Sign (CC) par/by Katmere

Magazine electronique du CIAC no 37/2010
Centre International d’Art Contemporain Montréal

qui suis-je? Annie Abrahams (1999) Review, article de Cyril Thomas, Rédacteur en chef de la nouvelle revue trilingue, Transdigital, dédiée aux arts de la scène et aux nouvelles technologies. Il collabore également à diverses revues papier ou sur internet, notamment Ciel Variable, Scènes, Poptronics.fr, et Patch.

“Je souris, parce que le temps travaille, ne résiste pas, la vérité est relative, ailleurs, là où ça n’existe plus, où on ne parle plus. Le “je ” dans “Qui suis je?” était le site lieudit.org, je l’avais personnalisé ce site, je l’avais fait parler, parce qu’il était menacé par le désaccord, par l’éparpillement, par .. , il était mort peu après … Je te souris. ” Annie à Cyril 01 09 2010.  “Cet article est comme une séance de psychanalyse.”

Filed under: Articles / Texts, CIAC, Cyril Thomas, identité, lieudit.org, net art