net art, video, performance

Annie Abrahams

Gender Dissent across Mediated Literary Works

adalogoRule-guided Expression: Gender Dissent across Mediated Literary Works by Kristin Allukian and Mauro Carassai.

Published in Ada Issue #8. Ada is a journal of gender new media and technology.

“This paper is concerned with the examination of rule-guided cultural and thematic battles enacted by women writers in two historical moments—the late nineteenth- and early twenty-first centuries—against the dominant cultural institutions of their time. Such battles, evaluated in the Anglophone world of letters at large, bring to light women’s often inconspicuous strategies for legislating new mechanisms of written expression within the established authoring and reading practices of their times.

Both the mobility-limited late nineteenth century society and the apparently digitally-democratized twenty-first century seem to call for female writing subjects, who are often seen at the margins of the “social factory,”to intervene through specific literary acts of disturbance. Such acts of disturbance, when closely analyzed, can be seen as both exposing and altering the rule-based systems in which these authors are confrontationally embedded.

……

In envisioning the routes of such processes of imagination-based social practices moving from the ideally American radiating center, Dutch e-literature author Annie Abrahams, who has been living in France since 1987, and Australian codework poet Mary-Anne Breeze (also known as Mez) can be seen as modern Anglophone literary catalysts of the instances of the previously discussed nineteenth-century American writers such as Alcott, Phelps, Blake, and Jewett in a world increasingly imposing norms and standards both in digital labor and language-based technological expressions. Our brief analysis of works such as Abrahams’s Separation/Séparation or Mez’s _cross.ova.ing 4rm.blog.2.log 07/08 highlights how female electronic writing seems both to update the abovementioned three elements detected in the women’s career literature and translate them into the pragmatic dimension of digitally-mediated language expression.”

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Italian “translation” of Separation / Séparation

Mauro Carassai and Renata Morresi made an Italian powerpoint and javascript translation (2012) of Separation/Séparation (2002). They didn’t have the flash source codes and so imagined how translation of this piece of E-lit could be done from its experience alone.

Translation, Mutation, Decay.

The powerpoint version is hilarious (after clicking through 184 slides it stops – the poem can’t be read completely). The javascript version doesn’t work in all browsers and lacks some features, but does give an impression. (thanks!)

That’s what time can, will do with a piece of electronic art, I thought.
E-lit also is like grass, and all their glory is like the flowers of the field; the grass withers and the flowers fall.

Carassi and Morresi wrote an article about their adventure which now appreared as
Verbal Disengagements: Translating Language Games in Annie Abrahams’s Separation/Séparation in Translating E-Literature (2015). Eds. Regnauld, Arnaud and Abrioux, Yves. Bibliothèque de l’Université Paris 8 (Saint-Denis, France).

javascriptTot

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MTAA’s Physical Bookmarks – Vintage Net Art Created Before Facebook

otoBookmarks
MTAA’s Physical Bookmarks for Vintage Net Art Created Before Facebook (BF-2004), 2015
5 x 6 inch etched vinyl on panel, no edition, $125 each (175 euro).

Tinjail – You, 2001
MTAA – MTAA’s Working Process, 1998
G.H. Hovagimyan – Homepage, 1999
Yael Kanarek – World of Awe, 2000
Annie Abrahams – Séparation/Separation, 2002
Vuk Ćosić – Ascii History of Art for the Blind, 1998

Over The Opening (OTO) @ the Internet Yami-ichi

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Ugly Feelings – Townhouse Gallery, Cairo

Ugly-Feelings-header_slideshow

I am happy to be part of this exposition curated by Ania Szremski.
The emotional impact of working (or being unable to work) in this context has shifted our institutional and curatorial thinking. “Ugly Feelings” is a first step towards reflecting on that shift, a gesture towards a project that will manifest in 2014 asking if an institution can create an exhibition without an artist.

20/10-20/11/2013
Opening reception Sunday, October 20, 7 pm
Townhouse First Floor Gallery, Cairo.

… “The current Townhouse tackles feelings of frustration and despair dominating Egypt’s transitional process, exploring how art institutions can continue to function in such challenging times.” …  “I had originally wanted to show Moving Excerpts, as well as Separation in an Internet café exhibition in 2011 called ‘Talk to Me’, which was cancelled due to the events of Mohamed Mahmoud,” Szremski remembered, “then I felt that they made a lot of sense in the context of ‘Ugly Feelings’ and I was happy to have the chance to finally show them in Egypt.” … Yasmine Zohdi in the article Cairo’s Townhouse Gallery embraces ‘Ugly Feelings’ on ahramonline

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Separation / Séparation ELC Review

John Zuern on Separation/Séparation in his review Where Are We Now?: Orienteering in the Electronic Literature Collection, Volume 2 for the Electronic Book Review (2011-11-09 ).

“The very first piece in the lineup, Annie Abrahams’ Flash poem “Separation/Séparation,” strikingly emphasizes both the bodily and geographic dimensions of literary creation and reception. Inspired by the author’s experience of repetitive-strain injury, the poem is designed to reinforce ergonomic guidelines aimed at preventing such injuries. Clicking too quickly or forcefully invokes the error message, “You don’t have the right attitude in front of your computer,” and the poem periodically pauses to lead the reader through stress-reduction exercises. While the central focus of Abrahams’ piece is the computer user’s fraught relationship with the machine, by providing English and French versions of the work, Abrahams, a Dutch artist working in France, also underscores the powerful but often under-recognized role of a language – “native,” “national,” “other,” “foreign” – in situating us in relation to whatever we read, even when that situation amounts to a separation due to our inability to comprehend. As do many of the texts in Volume 2, “Separation/Séparation” encodes the coordinates of its creation in the form of the different human languages it engages.”

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Review ELO V2

CPR_logo

1 December 2011

“…Other works aim to draw attention to that greater ‘link’ back to the body operating the computer. Some of the works seem to understand the computer (a laptop or a desktop) as a kind of furniture, one we may have become too comfortable with. After clicking impatiently several times to get the next word of a poem revealed in this way, Annie Abraham’s English/French work separation/séparation informs, alternatively, ‘Vous n’avez pas le bonne attitude devant l’ordinateur’ / ‘You do not have the right attitude in front of your computer.’ I am instructed to do an exercise demonstrated on the screen, ‘Open your eyes as wide as possible and lift your eyebrows for five seconds’; a bar appears on the screen indicating the elapsed and remaining time. A bit later, another punishment/exercise requires standing up, and as I am doing so I notice a large orange painting on the wall of the room I am in. I had registered it before, but realise then that I had never looked at it for any length of time. The composer Edgar Varèse once said that the greatest pleasure the radio gave was turning it off. The same could be said of electronic literature and clicking Shut Down…”

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Electronic Literature Collection Volume Two

Separation / Séparation (2002) included in
The Electronic Literature Collection Volume Two.

The game and dialogue among artist, machine, and reader facilitates a general reflection on the role of the body in processes of reading and writing.”

February 2011,  College Park, Maryland: Electronic Literature Organization
ISSN: 1932-2011
Editors : Laura Borràs, Talan Memmott, Rita Raley and Brian Kim Stefans

The Electronic Literature Collection Volume Two has been published (with identical contents) on the web and on DVD-ROM. This dual publication is intended to allow the volume to reach the broadest audience possible and to provide for reading, classroom use, sharing, and reference on and off the network. Anyone can request a free DVD-ROM from: Electronic Literature Organization / Maryland Institute for Technology in the Humanities (MITH) / B0131 McKeldin Library / University of Maryland / College Park, MD 20742.

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Bit et bit et calligrammes

Écritures numériques : Etats
Périphérie XXII

lundi 14 juin 2010 / 18:30 – 23:00

Entrée libre
le MOTif
6 Villa Marcel Lods Paris 19° M° Belleville

Le Marché de la poésie et le Bipval se sont associés pour, dans le cadre des périphéries du marché de la poésie, présenter quatre créateurs qui ont su s’emparer de l’informatique pour proposer de nouvelles approches d’écriture.

Avec Jean-Pierre Balpe, directeur du Bipval, les artistes Philippe Boisnard, Emmanuel Rabu et Annie Abrahams.

Mise en action, performance de Séparation

Support de présence : http://bram.org/textdynamics/lemotif.htm

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Upcoming

* 21/08 - 4/09 residency BridA Slovenia.
31/08 15h. Kulturni dom Šempas. "I can't do it alone" Participatif distributed construction of tableaux vivants. 18h. Artist Talk.
* 6/10 16h "if not(you&me)=>(void)", présentation performative avec Muriel Piqué. Colloque international "Narrativité & Intermédialité", Université Paul Valéry Montpellier.
* 14/10 21h performance unaussprechbarlich with Helen Varley Jamieson, Festival Magdalena, Pathos, München.
* 2/11 Masterclass Journée d'études sur la poésie numérique, Université Paul-Valéry Montpellier 3.
* 15/11 Conférence Digital Lab ESBA le Mans. Invitation Marie-Laure Cazin.
* 24/11 Distant FeelingS #3 for VisionS in the Nunnery, Bow Arts, London.

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