In her work, using video, performance and the Internet, Annie Abrahams questions the possibilities and the limits of communication, specifically its modes under networked conditions. A highly regarded pioneer of networked performance art, Abrahams brings her academic training in both biology and fine arts to develop what she calls an aesthetics of trust and attention. She creates situations that “reveal messy and sloppy sides of human behaviour” making that reality of exchanges available for reflection. We first worked with Abrahams in her exhibition ‘If not you not me’ in 2010 and then as part of a group show ‘Being Social’ 2012. In this interview we ask her to reflect on the limits and potentials of art and human agency in the context of increased global automation.
Catlow & Garrett: While predicated on the idea of connectedness, the global social media platforms are designed to profit the companies who create them and to keep billions of us in a state of trance-like immersion which has in turn been shown to cause many of us to feel more isolated. At Furtherfield we have always worked to grow more communal and collaborative contexts for artistic production. What does your current thinking – through your work on Participative Ethology in Artificial Environments: ethnological approaches to Agency Art – reveal for the potential of genuine, participatory networking environments?
Annie Abrahams: Participative Ethology in Artificial Environments: ethnological approaches to Agency Art sounds nice, but it needs a question mark at the end. It’s an interrogation. In times when our technological environment uses all kinds of behavioural techniques to make us uncritical users of their interfaces, it’s important to become aware of our behaviour, to test and experiment with it. My artistic work is based on doing that, but I always had great difficulties explaining it to art institutions etc.
A discussion I had with my friend Cor whom I studied biology with in the seventies, helped me find this latest description. I told her, that I think about my work as having human behaviour as its main aesthetic component and why I call it, silently, “behavioural art”. I compare what I do now to what I did when I studied biology. In both cases I observe behaviour in constrained situations. The monkeys, that were the study objects “became” humans and the cage the Internet.
Because the behavioural science of the late seventies didn’t suit me very well – using Skinner boxes operating on conditioning techniques and the related sociobiology, with a link to eugenics – it has become impossible to use this historically contaminated term. The wish to control, mold nature, and humans wasn’t mine. “Behavioural” was and still is a “stained” word for me. But even so, I do study behaviour and create constrained situations. I ask people to perform in a frame, they are framed in an apparatus, which is more or less perfect – the Internet provokes, lags, bugs, glitches, the computer is old or new, fast or slow, the interface determines how the performers can interact or not, the domestic situation interferes with noise and cats wanting to join in. There is a protocol/a script/a scenario but no rehearsal, just some technical tests. My approach is more phenomenological than scientific, I don’t measure anything. It’s up to the performers to explore their own behaviour, to reflect on it and to learn together what it means to be connected.
I told Cor, my annoyance with the tendency of art institutions to categorise art. Video art, poetry, contemporary art, literature, dance, painting, music and media art, computer art, code art, … It’s so impractical and superficial and it always takes a technology or a medium as its anchor point. It doesn’t say anything about what it makes possible, about what we can experience through it. Maybe that’s why I started to use the word performance, and performance art more and more. It’s a cross-discipline word. It’s multi purpose, but also a bit empty, I must admit.
Beyond (spectacle) – Episode II – begin and end by Annie Abrahams and Igor Štromajer.
“Agency Art is art that makes it clear to the receiver via his or her body what is at stake, where opportunities for action lie, and which virtual behaviours he or she can actualize. It demonstrates how choices work.”
Arjen Mulder, The Beauty of Agency Art, 2012.
In his article The Beauty of Agency Art, Arjen Mulder uses the concept Agency Art to indicate interactivity as the important component of an art work. It is an interesting attempt to develop a discourse for technology/media art in relation to the contemporary art discourse. He embeds his ideas in history and goes back to thinkers such as: Shannon, Wiener, MacKay, McLuhan, Cassirer, Langer, Gell, Latour, Heidegger, Derrida, Badiou, Rancière, Danto, Whitehead, Steiner, Rolnik and more. I like the concept because it determines art that has behavioural choices and gestures as its centre. Its meaning is the acts that are made possible. What is also important in Mulder’s reasoning, is the concept of “virtual feeling”, introduced by the philosopher Susanne K. Langer in her groundbreaking book Feeling and Form (1953). Langer explains how each individual art medium evokes, manipulates and investigates “virtual feelings” in its own way.
“A painting calls forth virtual depth with lines and colours; a sculpture constructs a virtual volume around itself; a novel constitutes virtual memory, tracked through virtual time. Dance follows virtual forces of attraction and repulsion. All the experiences that are part of this “feeling” are spaces of possibility, virtual feelings waiting for actualization; their nature, allurements and dangers must be studied, and art is where this investigation takes place” Arjen Mulder, The Beauty of Agency Art, 2012.
This is how to think of behaviour as an aesthetic force, I told Cor. This is a concept that I can use to talk about what is important to me. For me, the words are empowering and stimulating, pointing to Butler, ANT theory and Karen Barad, I cannot and won’t leave them behind me.
collectively made – refusing hierarchy- a knitting together of artists and performers in the moment of the event – erasure of the artistic ego – practice – changing rules – choices – connecting – accepting the unexpected – responsive – shared – collaboratively authored – open to all – working with temporal behavioural phenomena – healing – enactment – improvised – including environmental conditions – attentional strategies – instructions – protocols – apparatus – meeting – embracing the ordinary – rehearsing alternatives – re-hijacking therapy – exercising our relations to others – our social (in)capacities – exploring rituals – being together – participatory – concerns individuals and politics
These are keywords found while researching work (from fine art, dance, theater, music, performance, digital art to electronic poetry) I could consider being Agency Art : Deufert&Plischke’s work, LaBeouf, Rönkkö & Turner’s HEWILLNOTDIVIDE.US, Building Conversation by Lotte van den Berg, Deep listening by Pauline Oliveros, Poietic Generator by Olivier Auber, Lingua Ignota by Samantha Gorman and Walking Practices by Lenke Kastelein.
Using Agency Art also means being able to make cross sections through disciplines and to open up closed domains of practicing. And that is the moment in our conversation where Cor, who has also a degree in philosophy said : “It’s easy, call your work participative ethology in artificial environments.” I am still pondering and that’s why there has to be a question mark. There always have to be question marks.
#PEAE = #Participative #ethology in #artificial environments #ethnological approach #AgencyArt?
‘Angry Women’ by Annie Abrahams, 2011. (From photograph by Michael Szpakowski).
C&G: Katriona Beales drew our attention to the Kazys Varnelis’ essay in the Dispersion catalogue (ICA 2008) which talks about the concentration of power in nodes of connectedness. She says “So even if I write a response to Donald Trump’s tweet saying “I hope you’re impeached”, for example, I add to his power, just through the interaction. I end up contributing to his power base even though I explicitly disagree” This effectively rewards, with attention, those who inspire intense outrage, fury and derision. Interfaces play a crucial role in your network performances and deliberately prompt very different kinds of behaviour – we’re thinking in particular of Angry Women. What kinds of behaviours and responses does your work inspire?
AA: I agree the concentration of power in nodes of connectedness is disturbing and confusing. It puts us in a double bind situation, becoming petrified, unable to act or to flee because we can not choose. I think this might be true when we consider our role in big networks, but it is definitely different when we talk about smaller networks. There it matters what we say and especially how we say it. A big part of my work is to create situations / interfaces / performances that permit us to experiment and train our (un)capacities to do so in networked environments. Participating in one of my performances means taking risks – nothing is rehearsed, means accepting you can’t control everything, it means committing to continue even if all seems to go wrong, to be attentive to the others around you with whom you share the performance space, with whom you are co-responsible for the shared moment in time.
From the people watching I ask that they are aware of what is at stake in a performance. That they watch it not with a connoisseurs regard, but that they see it as an aesthetic experiment in which behaviour is the main aspect / asset. If they become sensitive they have access to a very intimate and fragile aspect of our being, to something we absolutely need to discover further if we want to escape an allover binary future.
For myself I analyse the “concentration of power in nodes” phenomenon as the result of something you could call a lack of res-ponsability in our online affect management. When you are always scrolling you are unaware of the reaction you provoke, you are not awaiting a reply, but already on the next, next, next photo or short text. There is very little interactivity, and even less exchange. We act without caring for what our words, actions, and ideas bring forth. We might not be aware but our words, actions, and ideas live beyond us, they do intra-act with the actual situation. They are things acting in a world. (**)
** I have been reading texts on intra activity, a neologism introduced by the physicist, and feminist theorist Karen Barad. It’s difficult stuff. This video (Written & Created by: Stacey Kerr, Erin Adams, & Beth Pittard) gives easy access to one of her most important points.
Yes, it is now totally normal to refer to “people” as “consumers”, every organisation an “enterprise”, which in turn leads to proposals for the nation-as-a-service, populated and run in the interest of private enterprise as offered by the e-stonia bitnation project.
By accepting the impoverishment of experience and reduction in agency implied by this label we can forget about ourselves as “actors” in the world, and become the cattle of the few. The only agency we are offered is as a responsible consumer (in which our powers are reduced to a binary option to buy or not). This is the new democracy.
In the UK these days, art audiences are often described as “consumers”. How else in your view might we conceive of “audiences”. What agency might we wish for them. And what part might our relationship with devices and digital networks play in this new description?
AA: We are not yet used to machines reacting to and using affects, tapping into our endocrine system. Articles like “Our minds can be hijacked’: the tech insiders who fear a smartphone dystopia” make us more and more aware of how we are manipulated and distracted, how our attention is designed, guided, influenced, used. But a lot of it is still hidden and because it’s so rewarding and because we “need” the attention we continue to click and vote. It is possible to create environments where people can slow down and have more subtle, nuanced agency, where they can participate and become aware and reflect on of their own behaviour. DIWO projects for instance have that power. People, especially art lovers, can be challenged to engage with others in interesting actions and conversations.
With Daniel Pinheiro and Lisa Parra in Distant Feeling(s) we invited the audience to join us in an experiment where we share an interface, normally used for online conferencing, with our eyes closed and no talking allowed. It led to very diverse observations shared via social media and email exchanges: 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 – an organic acceptance of silence?
Keywords from the reactions : http://bram.org/distantF/
Distant FeelingS #3 | VisionS in the Nunnery – Oct5-Dec18 2016
C&G: Unlike technologies and forms of production that work in the area of speculative realism, automation and AI, you still place humans and human relations at the centre, how do you view the current moves to shift agency away from humans into these ranges of techno-social systems?
AA: I am particularly intrigued and troubled by what is called deep learning. The algorithms produced by the machines themselves have a big influence in and, we must be honest, potential for for instance the health care business. They also determine on what moment of the day, depending on your mood you will see which advertisement on your device. As explained in The Dark Secret at the Heart of AI nobody can really understand how these applets produce their outcome – not even the programmers who build them.
For me this is problematic. Algorithms cannot invent what didn’t exist before and so they tend to reproduce / to select more of the same / to reinforce the existent. (see deep dream images) Moreover a lot of deep learning is based on the algorithm learning to produce a desired outcome.
As the machines are also designed to make us ready for their coercion, we are already subconsciously, intuitively adapting to these black box processes. We need to try to understand how these processes influence us, not because they are necessarily bad, but because our interests might not always coincide, we might want to differ. We don’t all have to learn programming the machines. That has become far too complicated and specialist and maybe not the best route to take. But we could engage in projects who try to find out how to influence machine behaviour, how to keep some agency. Maybe by introducing noise and entropy into the processing, so, together with the machines we can continue to cherish difference and diversity.
C&G: This question connects with the previous one. How do you see the role of artists in finding ways to negotiate a healthy relationship between artistic agency and capital-driven-machine worlds?
AA: This is a very difficult question to which every artist has to formulate her own answer. But it for sure passes by trying to open up spaces and discussions with people who have other opinions than yours, to going beyond safety-zones, to finding ways to communicate with and about hatred, angst and love.
This editorial series, takes digital addiction as its theme, and sits alongside the Are We All Addicts Now? exhibition, book, symposium and event series, we are hosting at Furtherfield. Are We All Addicts Now? Is an artist research project led by Katriona Beales and has been developed in collaboration with artist-curator Fiona MacDonald: Feral Practice, clinical psychiatrist Dr Henrietta Bowden-Jones, and curator Vanessa Bartlett. It looks at the application and impacts of many different research findings in the creation of digital interfaces, devices and experiences under the conditions of Neoliberalism.