don't touch me / ne me touchez pas (2003) était une pièce sur l'intimité et les attitudes devant un écran d'ordinateur.
Je veux vous raconter une histoire. Les hommes peuvent penser qu'il s'agit de "désir", les femmes vous diront qu'il s'agit du passage douloureux de l'adolescence à l'âge adulte. (flash6 avec son)
Depuis 2020, la technologie Flash est obsolète. Cette pièce est donc désormais archivée :
Les fichiers .html et .swf se trouvent toujours sur ce site.
4 petites images des photographies utilisées dans l'œuvre :
.zip avec 4 fichiers originaux .fla FR + ENG
Un court enregistrement d'une visite effectuée en 2020, lorsque la pièce était encore active .mp4
Version active sur Rhizome's Conifer : https://conifer.rhizome.org/annieabrahams/touchdonttouch/20191224150713$br:firefox:68/https://www.bram.org/toucher/fr/index2.htm
Presenté:
'8th International Festival of New Film, section new media', Split, Croatia, 2003.
Respiro issue 11 2003.
Action DOC(K)S (ed. Akenaton), p 428 and CD Rom. ISSN DOC(K)S 0396/3004, 2003.
Forum des images, festival NEMO, Paris, 2004.
Media Art Festival, Armenian Center for Contemporary Experimental Art, Yerevan, Armenia, curator : Eva Kachatrian, 2005.
III muestra internacional de artes electrónicas, Bogota, Columbia, 2005.
Invited/Invaded, Rhizome member curated exhibition by Jessica Gomula, 2005
“Tout va bien”, solo exhibition of Annie Abrahams, ESCA Gallery 2007, installed on a computer in a wooden module 500 x 160 x 130 cm. Photos.
Words/mots:
““Ne me touchez pas / don't touch me” is a minimal yet psychologically loaded piece which I suggest viewing in both English and French, since the nuances of each language makes the project a unique experience -- even if one is not fluent in a foreign language. Click, click, and then click some more. But be warned; you might feel like an intruder, depending on your personal projections.” Eduardo Navas, netartreview, 2003.
“'Don’t touch me' by Annie Abrahams, displays the photograph of a woman lying on a bed, as a voice starts telling a story. But if the user rolls the cursor of the mouse over the picture, a text immediately appears on the screen, expressing the woman’s refusal (« don’t touch me ») and she changes positions. The vocal tale stops immediately and restarts from the beginning. On the fourth attempt of caress with the mouse, the window closes up. This way, the user is made to reflect upon what an interactive gesture is and to think twice before interacting with the work (whether by clicking or rolling over). Interacting is thus staged and shown. Annie Abrahams forces us to be passive to become aware of the nature of the interactive gesture. In this work, interacting stops the narrative : narrativity and interactivity are here incompatible. The loss of grasp is characterized by the impossibility of acting.”, Bouchardon, S. (2008). « The rhetoric of interactive art works', actes du colloque international DIMEA 2008, 10 au 12 septembre 2008, Athènes, Grèce, ACM Proceeding Series Vol. 349, 312-318.
La notion de figure est encore à reconsidérer : dans son œuvre « Ne me touchez pas », Annie Abrahams offre en ligne un récit vocal (un rêve fait à l'adolescence), permet au lecteur de passer la souris sur l'image pour interrompre le récit (qui en réalité recommence depuis le début), nous invite ainsi à réfléchir sur notre attitude face au corps féminin ; ainsi se mettent en place de nouvelles tropes, des figures de manipulation qui prennent en compte le geste du lecteur. Séminaire PNF, 20 novembre 2012, Serge Bouchardon.
“The story Don't touch me has a vocal, visual (the woman displayed) and written-textual dimension (the three messages of refusal). It also has a gestural dimension: it is through the action of the user that the vocal narrative makes sense. This is an interactive story that is based on a play between interactivity and narrativity (Ensslin, 2012). Interactivity prevents narrativity insofar as the gesture of the user stops the narrative. The author also plays on the apparent incompatibility between narrativity and interactivity to teach the user to resist his desire to click, but also to apprehend differently the representations - especially online – of the female body. The vocal narrative can only be interpreted through the gesture of the user: it makes sense because it is interactive. In the piece Don't touch me, we can identify a gap between the expectations of the interactor when he or she moves the mouse cursor and the result obtained with this manipulation (until the final white screen). The caress on the picture of the woman with the mouse cursor only interrupts and then brutally stops the course of the piece, giving rise to a figure of manipulation that could be called a figure of interruption.” Serge Bouchardon, Towards Gestural Specificity in Digital Literature, Electronic Book Review, 2018.