net art, video, performance

Annie Abrahams

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

07_collapsing_abrahams_kiss_2931646074_crop

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

workshop + conférence au CNAC

22-24/03 2017 Workshop Performance en Réseau – Introduction au Centre National des Arts du Cirque à Châlons en Champagne. Avec les étudiants de l’Ecole Boulle en DSAA1 Événementiel et médiation et les étudiants de la 30ème promotion du CNAC.
cnacCirqueDouble

Préparation / déroulement du workshop .pdf
23 Captures d’écran plus photos sur flickr.
Exercisesexister en double – toucher à distance – coördination – jouer la taille – le rapport – le monstre – la rencontre (ou pas) – disposition, abstraction, rhytme, mouvement de la webcam.

Exercice : deux webcams et un objet en mouvement.

23/03 2017 18h00. Conférence au CNAC
La beauté dans l’erreur ? – Oser le désaccord et la contradiction !
Qu’est-ce qu’une performance dématérialisée ? Est-ce que cela existe ? En montrant des exemples comme Angry Women et Angry Men, Annie Abrahams parlera des ses spécificités. Elle abordera le rôle du corps en ligne. Elle crée un espace liminal d’expérimentations, de rencontres, un espace intime, presque vierge, un ailleurs pour découvrir un mouvement pur. Le travail d’Annie Abrahams se base sur une esthétique de l’attention et de la confiance. Il dévoile ce qui est caché et met en avant ce qu’on n’a pas envie de voir. Annie Abrahams revendique la beauté de l’erreur et de la maladresse.
C’est une position politique, une opposition, un contre, mais aussi une réparation, une restauration, une correction, une thérapie, une cure, un antidote.
Que pourrait être un tel approche dans un environnement, ici au CNAC, où l’erreur peut être fatal et la maladresse un outil ? Nous allons essayer d’y réfléchir ensemble.

Preparation de la conférence performée .pdf

Vidéo d’un moment très spécial de cette conférence – lecture sur l’intra-action (Karen Barad)

Merci A Cyril Thomas, Claire Brisson et Eric Dubois pour l’invitation et la confiance.

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

Avantgarde, theatre and all the rest

XXIIImfspin_baner_1000x300.
March 19, at 1 p.m.

Powszechny Theatre
21 Legionów Street
91-069 Łódź
.

Avantgarde, theatre and all the rest
The seminar will take up the issue of the avantgarde transformation from its historical origins to the present. The participants will ask how important the Internet and cyberspace are for the theatre and performance art. Social and political potential of today’s theatre will also be discussed.

With:
Annie Abrahams
(living in France), a Dutch performance artist creating her projects on the Internet. (My preparation .pdf  or .html)
Grzegorz Laszuk, the leader of the formation of alternative theater Commune Otwock, nowadays – the Commune/Warsaw.
Izabella Pluta (working in Switzerland and France), a researcher on how the modern theatre is transformed under the influence of new media.
Ewa Wojtowicz, the author of books about art on the Internet and the latest artistic post-media trends.
Ryszard W. Kluszczyński, a researcher on the contemporary art, in particular new media art.

In the frame of the  XXII International Festival of Plays Pleasant and Unpleasant.

Filed under: Conference / lecture, , ,

Digital Lab ESBA – Un parcours atypique ?

15 novembre 2016. Une journée au Digital Lab ESBA le Mans. Sur invitation de Marie-Laure Cazin.

10h – 12h. Atelier Performance en réseau. Max 6 étudiants.

Une performance en ligne c’est quoi ? Est-ce que nous pourrions l’expérimenter ? Oui, mais ce n’est pas un jeu, il nous faut un protocole. Nous allons l’écrire ensemble. Oui, ensemble, radicalement horizontalement ensemble, nous en écrirons plusieurs. Et puis nous les exécuterons devant une webcam.
Mon protocole pour ce workshop sera publié après (open source pedagogy).

parcours3desertnum

14h – 16h. Un parcours atypique ? Euh non, pas tellement. Conférence dans l’Amphi.
Annie Abrahams développe ce qu’elle appelle une esthétique de l’attention et de la confiance, dont le comportement humain est la matière première.
Elle parlera de son parcours, de ses motivations et du comment aujourd’hui la recherche et l’art se mélangent dans sa pratique d’artiste.

Filed under: Conference / lecture, Workshop, ,

Politics of Performance and Play

mastertxt

Thursday July 7 2016  14h15.
Lipsius 019,
Cleveringaplaats 1,
Leiden.

Besides, subjectivity is no longer a privileged site for emancipation
Networked performance
Annie Abrahams and Martina Ruhsam

In the frame of The Politics of Performance and Play. Feminist Matters conference, Institute of Philosophy, University of Leiden.
Panel: Performance, Agency and the Posthuman.
Conference programme

‘…if we really engage in storytelling as a sym-poietic practice, which is propositional and invitational, then we have a chance for re-worlding. Play always involves the invitation that asks ‘are we a “we”’? A “we” that does not pre-exist the propositional risk and testing.’
(Donna Haraway, 2015)

Martina Ruhsam and Annie Abrahams started the  performance series besides, – on Object Agency in June 2015.
This will be the 5th performance in this series.

“We perform experimenting thinking together using words and things and the affects transferred via our voices. We experiment performing thinking together, We think performing experiments together, We experiment thinking performance, We experiment performing thought together using words and things and the affects transferred via our voices…”

Filed under: Conference / lecture, Of interest, Performance, , ,

besides, compressed by communication

besidesImFlieger

besides, compressed by communication
Performance with Martina Ruhsam
March 19th 20h
Duration 30 – 40 minutes with discussion afterwards

Im_Flieger,
Im_flieger@Schokoladenfabrik, Gaudenzdorfergürtel 43–45/4. Stock/4C, 1120 Wien (U4 Margaretengürtel) >> map
Pay as you wish

To assist online go to water-wheel.net a little bit before 20h and click ENTER (please be patient, you might have to wait a few minutes before it will be working)

In the frame of Metabolism – Ecologies of collaboration (project & platform).
Stoffwechsel – Ökologien der Zusammenarbeit ist ein transmediales Forschungsprojekt mit unterschiedlich involvierten Künstler_innen und Theoretiker_innen und experimentiert mit strukturellen und künstlerischen Verschränkungen.

Im_Flieger is an Independent Artists’ Association – Platform and Experimental Ground for Dance, Performance and related Art Forms.

A real-time composition in which daily objects interrelate in an interface that usually frames the heads of humans. Annie Abrahams (In Montpellier) and Martina Ruhsam (in Wien) communicate by juxtaposing and resituating objects and by reading a text that is recomposed during the course of the performance. Unexpected links between thing and thing, object and text, image and sound appear. Sometimes the inorganic performers hijack the discussion. Scissors meet a knife which coincides with the word capitalism before being replaced by a little white box that is temporarily allied with anonymity. While matches and a paperbag are visible, a discussion about being post-image takes place, followed by the inorganic pulsations of a plastic nose and a plastic bag. The conversation meanders through unpredictable territories and is disseminated among various human and nonhuman agents.

We perform experimenting thinking together using words and things and the affects transferred via our voices. We experiment performing thinking together using words and things and the affects transferred via our voices. We think performing experiments together, We experiment thinking performance together, We experiment performing thought … citation from besides, what are we doing ? Notes on the performance series, 03 2016, Annie Abrahams

besides,not

Filed under: Performance, , , ,

besides, what are we doing?

light

We started out with three very different meetings (See turbulence.org) and then decided to continue to explore one of them further; we restricted ourselves to a theme and made the project on “meeting online =” also a research on the relation between objects/things, text and the voice.
We began experiencing and experimenting the performances as an other method of thinking together about both object agency and online collaboration.

– We stage a collaborative performance project online.
– Meeting online =
– We are meeting online, trying to get more grip on what is actually happening in online webcam communication.
– This is a research project where we use performance as a tool.
– Using performance as a tool, is a way to create a common responsibility.
– We use an interface which doesn’t permit that either of us two can become dominant, an interface that has flaws, glitches, bugs, an interface that cannot be domesticated.
– We are not developing a performance – our performances are part of a research process.
My performances are a research tool, not an object ansich, not something to show off. (See allergic-to-utopias)

But the audience? Why should they be interested, What is it for them? They can think with us!

So far :
besides, the person I am becoming 1/06 2015
There are :
the interface : two webcam images side by side, one managed by Martina, one by Annie. Both images have exactly the same size and presence there is no power relation.
– a text
: a remix, done together, of phrases read and heard, collected over one month by Annie and Martina individually. We determined before who would read what part of the text.
objects : things : we will not use personal objects, things with a very specific personal history and they should not be too beautiful, as ordinary, casual, daily as possible.
What did we mean by that, why? We didn’t want things to be symbols. We almost entirely excluded also natural objects as flowers, leafs etc., because, they are already alive on their own and so are too symbolically loaded too.
The objects were placed in front of the webcam at before undetermined intervals.
the hands : hands who lay down the objects carefully.
two voices : as neutral as possible. Because the interface merges the sound of both webcams in one stream, there is no way for the audience to distinguish if a voice comes from the one or from the other webcam. They can only hear that there are two different voices, there is a dialogue.

What dialogue? Who is talking to who, who is addressed? Who receives? The objects replace the faces we are used to see in webcam images. We see them in close up – they become actors – we can believe them to be intimate, to have a relation. They too have a / are in dialogue. They too are elements being in the event. (1)

This is where the two subjects meet. This is where we meet.

In besides, the city is not a tree, 22/07 2015 we used a different, more narrative, mix of the same text collection. We decided to abandon the neutral voice and let the exchange be more natural allowing for affect to transpire (2). We speeded the rhythm and alternations.
Hands should be just careful installers, shouldn’t manipulate, nor stay too long in the frame.
For besides, smaller than a single pixel 28/11 2015 we made a new text collection. No natural objects at all were allowed anymore. Would the perceived agency of the thing change if we would enter and exit them at specific moments in the text? If we stopped talking while changing the objects? Would the objects become more present, have more influence if we allowed for moments without text?
We stayed with speaking the text in an ordinary manner. Would the dialogue be more fluent if we decided to use the texts fragments randomly? Would that give more dialogical power to our voices and rhythm? Would that help us to use text and objects equally in our perform thinking experience?

We perform experimenting thinking together using words and things and the affects transferred via our voices. We experiment performing thinking together using words and things and the affects transferred via our voices. We think performing experiments together, We experiment thinking performance together, We experiment performing thought …

(1) “According to Bakhtin, in order to ‘overcome’ the separation and opposition between art and life, between art and culture, the elaboration of a ‘first philosophy’ is required: The philosophy of event-being. Art and life cannot and must not tend towards identification, as was the case with the Situationists, for example. But, in order that the enriching, excessive and productive difference between art and life be able to express itself, it is necessary to possess a theory which, whilst maintaining the irreducible differences between these two dimensions, articulates them in the achievement of the event.” Maurizio Lazzarato in Dialogism and Polyphony. geocities.ws/immateriallabour/lazzarato-dialogism-and-polyphony.html
(2) “According to Bakhtin, the voice or intonation, not yet captured in the ‘phonetic abstraction’ of language, is always produced ‘on the threshold of the verbal and the non-verbal, the said and the non-said’ and it is through it that it addresses itself to the other. This address is affective and ethico-political rather than linguistic. It ‘appropriates, travels, avails itself of linguistic and semiotic elements, confirms and drifts away, critiques and legitimates meanings and established intonations’. ……………It is only when the voice penetrates and appropriates words and statements that the latter loose their linguistic potentiality and turn into actualised expression. It is only at that moment that words and statements are encumbered with the a unique and non reproducible role in verbal exchange.” Maurizio Lazzarato generation-online.org/p/fp_lazzarato6.htm

Notes on performance series besides, with Martina Ruhsam, 03 2016, Annie Abrahams

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

Ed Atkins – remediating?

Ed Atkins: NO-ONE IS MORE “WORK” THAN ME, 2014. Performed in 14rooms, Fondation Beyeler, Basel.
On a large unadorned flat screen a 1:1 scale 3-D head, shaved and tattooed, bids for his humanity. A real-life person is present, performing according to the directive to “bear witness to” the avatar’s eight-hour pitch at being a convincing person.

Rooms

Why am I posting this video? It was Ienke Kastelein who pointed me to it when we talked about the discussion on empathy and intimacy in networked performance in which we both participated. There is no immediate link, but I watched the video, did some research and couldn’t stop thinking about it. Why was there a performer “to bear witness” beside the screen? What did that mean?

A triple (quadruple?) presence – Atkins doing a poetic performance for 8 hours somewhere not far away, an avatar, a 3D-head delivering this performance on a bluescreen to the public and an actor, wearing a blue hood, besides the screen. The fourth presence being the computer who calculated in real-time the 3D head and the sound.

There was a large screen and a live performer, who didn’t really do anything save remediate.” said Atkins in Head Space, a conversation between Ed Atkins and Matthew De Abaitua about the intertwining of art and technology in Frieze 165.

remediate = to set straight

This made me think he needed this body to make the performance acceptable in the frame of contemporay performance practice. He needed a remediator, a corps that could attach the 3D-head. He needed to heal. The technological is not (yet) “real” enough to perform.

It also pointed exactly to what I consider to be a problem in online performance practice. We count on a suspension of disbelief in order for the performance to be. (“What tells me, it’s not prerecorded?”) Sometimes, the use of a chatwindows in online performances also functions as a kind of remediator that suspends the need to belief…
What if we stopped remediating, but started working the pixels, flaws, glitches, delays, misunderstandings … the aesthetics of behaviour – aesthetics of attention (is there a difference?).

Don’t get me wrong I like the poetry of the piece – I do like the presence of the body – it makes the whole thing a bit wry. Don’t get me wrong, I didn’t see the performance, I would like to though.

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

empathy and intimacy in networked performances

propinquity, cross-reality, tele-presence, synaesthesia, ideasthesia

After reading Frans de Waal’s book on The Bonobo and the Athesist, I wondered if it would help me to better understand what is happening in networked webcam performance thinking about it in terms of empathy. So I wrote a status :

Would “empathy” be a word to describe what is needed (put at stake) in networked webcam performances?
The discussion this triggered made me realise a lot had happened since we organised the CyPosium in 2012. There seems to be a very lively bunch of people, with new approaches and ways of thinking, working in this field.

Participants :
Suzon FuksWaterwheel platform
Daniel Pinhero and Lisa Parra of LAND project
Helen Varley JamiesonUpstage platform
Ienke Kastelein artist – performer
Martina Ruhsam performer – choreographer
Michael Baird musician
Roger Mills director of ethernet orchestra
Randall Packer of postREALITY.tv
Sara Malinarich from the Intact project
Jason Crouch of Contact Manchester
Jesse Ricke of CultureHub New York.

I screencaptured the whole thread and post it here as 12 .jpg’s. (interesting links to videos, discussions, academic approaches and practice)

FirefoxScreenSnapz001

jpg1

FirefoxScreenSnapz002

jpg2

FirefoxScreenSnapz003

jpg3

FirefoxScreenSnapz004

jpg4

FirefoxScreenSnapz005

jpg5

FirefoxScreenSnapz006

jpg6

FirefoxScreenSnapz007

jpg7

FirefoxScreenSnapz008

jpg8

FirefoxScreenSnapz009

jpg9

FirefoxScreenSnapz010

jpg10

FirefoxScreenSnapz011

jpg11

FirefoxScreenSnapz012b

jpg12

After the discussion we started a closed facebook group. If you are interested, please ask to join us, you are very welcome.

The propinquity effect is the tendency for people to form friendships or romantic relationships with those whom they encounter often, forming a bond between subject and friend. Feeling close in networked performance might depend on “the percieved feedback”.

The public can’t be an object/subject for empathy, there are too many different people inside it – empathic skills projected on a public easily become manipulative, become something else.

Physical distance between the persons performing and also between them and the persons watching does allow for intimacy in a very special way. Maybe the intimacy is even connected to a shared sense of awkwardness that the situation implies.

Empathy is a quality, a capacity of one person (as is intelligence, sensibility), not something between persons / it is the capacity “a receptiveness to the rhythms, energy, utterances of the other person” – it is a prerequisite for intimacy.

Rather than empathy it’s about a process of increasing synaesthesia.

What telepresents CAN NOT be present, but we cling stubbornly to this utopia. (Jorge Ruiz Abanades)

Maybe one day there will be another CyPosium …

Filed under: performance, , , , , , , , , , , , , , , , , ,

Upcoming

* 18/06 2017 11h. Talk Networked performance art and engagement - What is and Why Agency Art? Internet, Arte y Compromiso, Centre Culturel Puertas de Castilla (Murcia).
* 19/06 2017 20h30. Une pratique du texte numérique qui dévoile. Invitation Yan Rucar, Centre culturel international de Cerisy-la-Salle.
* 21/07 10PM Performance Ours Lingages, ELO 2017, Mosteiro de São Bento da Vitória, Porto.

Find :

Join 59 other followers

Flickr bram.org

Networked performance au cirque-introduction

Networked performance au cirque-introduction

Networked performance au cirque-introduction

More Photos

Annie Abrahams
%d bloggers like this: