bram.org/poom

Error 417 Expectation Failed | Error 406 Not Acceptable The funding program Error 406 Not Acceptable supports open processes and risky art projects through an annual open call. Each edition highlights a different urgent topic, setting the focus on a condit...

error417.expectation.fail/406 interesting call.

Poetry Talks no 8.

Lecture performance avec @bololipsum Maison de la Poésie Montpellier.

🦊 publications 🐄 A 🐳 B🐋 Clyde Lepage, La pieuvre, l’humain et le toucher, 02 2026🐡 D🦭 E🐬 Fleur Courtois, Butiner avec, Le sens artistique des animaux d’Étienne Souriau, 23.04 2024🐟 G🦈 H 🐥 I🦥 Jacques A…

La pieuvre, l’humain et le toucher
très beau texte profond sur la relation humain/animal, merci Clyde
theanimalwhoiamfollowing.wordpress.com/textes/

ce soir à Strassbourg Female Rage avec le collectif Dear Rgeuses cinema-cosmos.eu/seance/carte...

Yesterday Montpellier

Theme: Unstable Grounds — Artistic Research as Line of Flight are.filmeu.eu

En incarnant les mots des autres je les rencontre. 18h. Maison de la Poésie Jean Joubert Montpellier.

Merci Mez

Bienvenu.e.s à Montpellier.

Download or watch aabrahams.wordpress.com.

Poète invitée – Poetry Talks. Annie Abrahams poète initée à Montpellier’s Poetry Talks no8

Vendredi 6 février 2026, 10:30 – 16h Site Saint-Charles 1 (Salle 102) — Journée d’étude EMMA / RIRRA 21 autour de mon travail

Mardi 10 février 2026, 18h00 – Lecture multilingue et performance – Annie Abrahams & Bololipsum, Hacker & musicien, La Maison de la Poésie — Jean Joubert, Montpellier

Torting Projet Sound Poetry - Sergei Demin - Annie Abrahams 2024 -

Projet Sound Poetry - Sergei Demin - Annie Abrahams 2024 - .... www.
flickr.com/photos/bramorg/albums/72177720331393296/

Mardi prochain bienvenu.e.s.

aabrahams.wordpress.com/2025/12/20/g...
A beautiful piece, which showcases the moment, after every gathering, when we say goodbye to each other. Everyone can watch and download the 34 min long video, and it will only be available online until the 1st of February 2026.

This is today 6pm CET. Link on my wordpress

In an alternate reality Daniel Pinheiro and I would now be organising the 13th yearly re-connection in Distant Feeling(s).
Daniel sadly passed away last January.

This is an invitation for all past participants, but also his friends and colleagues.
More info :
aabrahams.wordpress.com

We won’t see AGI in our lifetime Referencing the curse of dimensionality, AI Winter economic cycles and probabilistic prediction, this analysis explains why AGI is not imminent.

I'm getting fairly sick of hearing about how "artificial general intelligence" is imminent. It's not.

open.substack.com/pub/jamescos...

#AGI #AI #artificialgeneralintelligence #LLMs #largelanguagemodels

Bijna en nauwelijks – performance avond Almost and barely – performance nightThursday Dec. 4, 20h30 – 22h30.Studio Seine, Mathesserdijk 323A, Rotterdam.Entrance free.In the frame of Almost and barely the exhibition of Frans v…

aabrahams.wordpress.com/2025/11/27/b...

4 december 20.00 uur performance avond. Almost and barely.

Met Sergei Demin 1m2 Podium Breda.

public.monster Remember when the web was fun? Upload your HTML and go live instantly.

public.monster est un hommage au web "fun" des années 90 avec la possibilité d'y héberger votre page publique bigarrée

Dear Nicolaas, did send you an email on your gmail. Not sure you are still using that. If not please give me another address @nicolaasschmidt.bsky.social

Welkom as vrijdag in Breda.

Triest, links Nederland verliest.

Art Monthly is a contemporary art magazine based in London.
Artists considered in the article are Aisling Phelan, Moon Ribas, Yasuaki Onishi, Benjamin Gaulon, Utterings and me.

Obsolescence and Art (and art magazines) Looking at Abrahams’ art, you sense an endless effort to make technology beneficial and meaningful – as well as her frustration with it – combined with a deep belief in human bein…

aabrahams.wordpress.com/2025/10/08/obsolescence-and-art-and-art-magazines/
Art and Obsolescence by Bob Dickinson a feature article in Art Monthly #490 October 2025. Dickinson points out that artists’ long-term fascination with obsolescence has turned darker with the development of new technologies.