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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.
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.
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.
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 compare what I do now to what I did when I studied biology. In both cases I observe behaviour in constrained situations. 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.