MachineMachine /stream - search for 3d https://machinemachine.net/stream/feed en-us http://blogs.law.harvard.edu/tech/rss LifePress therourke@gmail.com <![CDATA[MeFi: come for the SNES sprite art, stay for The Baby Agitator]]> http://www.metafilter.com/188037/come-for-the-SNES-sprite-art-stay-for-The-Baby-Agitator

An engineer, in fine engineer fashion, decides to save time making perler bead sprite art by hand by spending nine months iterating on a modified perler bead 3D printer.

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Fri, 24 Jul 2020 10:47:50 -0700 http://www.metafilter.com/188037/come-for-the-SNES-sprite-art-stay-for-The-Baby-Agitator
<![CDATA[PhD Thesis: The Practice of Posthumanism]]> http://research.gold.ac.uk/26601/

Post-humanism is best understood as several overlapping and interrelated fields coming out of the traditions of anti-humanism, post-colonialism, and feminist discourse. But the term remains contested, both by those who wish to overturn, or even destroy, the ‘humanism’ after that decisive hyphen (post-humanists), and those engaged in the project of maximising their chance of merging with technologies, and reaching a supposed point of transition, when the current ‘human’ has been augmented, upgraded, and surpassed (transhumanists). For both those who wish to move beyond ‘humanism’, and those who wish to transcend ‘the human’, there remains a significant, shared, problem: the supposed originary separations, between information and matter, culture and nature, mankind and machine, singular and plural, that post-humanism seeks to problematise, and transhumanism often problematically ignores, lead to the delineation of ‘the human’ as a single, universalised figure. This universalism erases the pattern of difference, which post-humanists see as both the solution to, and the problem of, the human paradigm. This thesis recognises this problem as an ongoing one, and one which – for those who seek to establish posthumanism as a critical field of enquiry – can never be claimed to be finally overcome, lest the same problem of universalism rear its head again.

To tackle this problem, this thesis also enters into the complex liminal space where the terms ‘human’ and ‘humanism’ confuse and interrupt one another, but rather than delineate the same boundaries (as transhumanists have done), or lay claim over certain territories of the discourse (as post-humanists have done), this thesis implicates itself, myself, and yourself in the relational becoming posthuman of which we, and it, are co-constituted. My claim being, that critical posthumanism must be the action it infers onto the world of which it is not only part, but in mutual co-constitution with.The Practice of Posthumanism claims that critical posthumanism must be enacted in practice, and stages itself as an example of that process, through a hybrid theoretical and practice-based becoming. It argues that posthumanism is necessarily a vibrant, lively process being undergone, and as such, that it cannot be narrativized or referred to discursively without collapsing that process back into a static, universalised delineation once again. It must remain in practice, and as such, this thesis enacts the process of which it itself is a principle paradigm.After establishing the critical field termed ‘posthumanism’ through analyses of associated discourses such as humanism and transhumanism, each of the four written chapters and hybrid conclusion/portfolio of work is enacted through a ‘figure’ which speaks to certain monstrous dilemmas posed by thinkers of the posthuman. These five figures are: The Phantom Zone, Crusoe’s Island, The Thing, The Collapse of The Hoard, and The 3D Printer (#Additivism). Each figure – echoing Donna Haraway – ‘resets the stage for possible pasts and futures’ by calling into question the fictional/theoretical ground upon which it is predicated. Considered together, the dissertation and conclusion/portfolio of work, position critical posthumanism as a hybrid ‘other’, my claim being that only through representing the human as and through an ongoing process (ontogenesis rather than ontology) can posthumanism re-conceptualise the ‘norms’ deeply embedded within the fields it confronts.The practice of critical posthumanism this thesis undertakes is inherently a political project, displacing and disrupting the power dynamics which are co-opted in the hierarchical structuring of individuals within ‘society’, of categories within ‘nature’, of differences which are universalised in the name of the ‘human’, as well as the ways in which theory delineates itself into rigid fields of study. By confounding articulations of the human in fiction, theory, science, media, and art, this practice in practice enacts its own ongoing, ontogenetic becoming; the continual changing of itself, necessary to avoid a collapse into new absolutes and universals.

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Thu, 08 Aug 2019 05:56:23 -0700 http://research.gold.ac.uk/26601/
<![CDATA[Daniel Rourke - “We're trying to have the non-weird future get here as fast as possible.”]]> https://www.youtube.com/watch?v=47boeVR3VuI

Goldsmiths College Department of Art MFA Lectures 2018 - 2019

Series 1.1: Offence is the Best Defence: On the Success of Social Media Toxicity

8 Oct 2018 — Daniel Rourke (Goldsmiths): “We're trying to have the non-weird future get here as fast as possible.” 15 Oct 2018 — Isobelle Clarke (Birmingham): "Poor little snowflake, are you 'grossly' offended?": Quantifying Communicative Styles of Twitter Trolling 22 Oct 2018 — Zeena Feldman (Kings College, London): Beyond Time: On Quitting Social Media 29 Oct 2018 — William Davies (Goldsmiths): War of Words: Embodiment and Rhetoric in Online Combat

Daniel Rourke 8th October 2018 “We're trying to have the non-weird future get here as fast as possible.”

From the Latin ‘aequivocare’, for ‘called by the same name’, to equivocate is to use language ambiguously to conceal a truth or avoid commitment to a single meaning. In this talk Daniel Rourke will consider equivocation in the performative (social media) speech acts of figures such as Donald Trump, Elon Musk, and Twitter CEO Jack Dorsey.

How their speech acts exposit a 'shared' future, or a means of ‘escaping’ our present conditions, has much to tell us about how the very idea of the ‘true’ or the ‘false’ has shifted in the era of algorithmic governance, and social media campaigns such as #MeToo.

Turning to Homi K. Bhabha's theories of postcolonial discourse, as well as introducing the project The 3D Additivist Manifesto – co-created with Morehshin Allahyari – Daniel will end by trying to reaffirm the equivocal act, pointing out a way to generate and move toward non-determinate futures without imperialising them.

BIO: Dr. Daniel Rourke is a writer/artist and co-convener of Digital Media (MA) at Goldsmiths. In his work Daniel creates collaborative frameworks and theoretical toolsets for exploring the intersection of digital materiality, the arts, and posthumanism. These frameworks often hinge on speculative elements taken from science fiction and pop culture: fictional figures and fabulations that might offer a glimpse of a radical ‘outside’ to the human(ities). His writing and artistic profile includes work with AND Festival, The V&A, FACT Liverpool, Arebyte gallery, Centre Pompidou, Transmediale, Tate Modern, Sonic Acts Festival, as well as recent artistic collaborations with a cast of hundreds... web: machinemachine.net.

Presented by the Art Department, Goldsmiths.

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Fri, 08 Feb 2019 06:24:18 -0800 https://www.youtube.com/watch?v=47boeVR3VuI
<![CDATA[Survival of the Richest – Future Human – Medium]]> https://medium.com/s/futurehuman/survival-of-the-richest-9ef6cddd0cc1

Last year, I got invited to a super-deluxe private resort to deliver a keynote speech to what I assumed would be a hundred or so investment bankers. It was by far the largest fee I had ever been offered for a talk — about half my annual professor’s salary — all to deliver some insight on the subject of “the future of technology.”

I’ve never liked talking about the future. The Q&A sessions always end up more like parlor games, where I’m asked to opine on the latest technology buzzwords as if they were ticker symbols for potential investments: blockchain, 3D printing, CRISPR. The audiences are rarely interested in learning about these technologies or their potential impacts beyond the binary choice of whether or not to invest in them. But money talks, so I took the gig.

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Sat, 07 Jul 2018 08:32:30 -0700 https://medium.com/s/futurehuman/survival-of-the-richest-9ef6cddd0cc1
<![CDATA[Casting Code: Reflections on 3D Printing Blog The letterhead of...]]> http://additivism.org/post/175542677283

Casting Code: Reflections on 3D Printing Blog The letterhead of Henri Lebossé announces that his firm uses a ‘mathematically perfected process’ and a ‘special machine’ for ‘reducing and enlarging objects of “art and industry”’.

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Wed, 04 Jul 2018 08:17:37 -0700 http://additivism.org/post/175542677283
<![CDATA[Arts Week 2018]]> http://www.flickr.com/photos/birkbeckmediaservices/41373488055/

Birkbeck Media Services / Dominic Mifsud

Casting Code: reflections on 3D printing

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Tue, 22 May 2018 03:22:40 -0700 http://www.flickr.com/photos/birkbeckmediaservices/41373488055/
<![CDATA[10. Salon Digital: #Additivism and the Art of Collective Survival - Daniel Rourke]]> https://vimeo.com/250198657

In diesem Video geht es um den Salon Digital 10. Dokumentation des 10. Salon Digital an der Hochschule für Künste Bremen am 29.11.2017. Mit Daniel Rourke. / filmische Dokumentation: Eva Klauss Rather than try and solve the problems we face as a planetary species - political and social problems which have been with us for millennia; or problems which come with new, and shiny names like ‘The Anthropocene’ - Daniel Rourke and Morehshin Allahyari, in their #'Additivism project, look to question the very notion of ‘the solution’: asking how the stories our problem come wrapped in are products of particular privileges, identities, and points of view. In this talk Daniel Rourke introduces The 3D Additivist Manifesto and Cookbook, showcasing some of the 'post-solution' projects it contains, and asking difficult questions of how to act once there are no solutions left. What is #Additivism? In March 2015 Allahyari & Rourke released The 3D Additivist Manifesto, a call to push the 3D printer and other creative technologies, to their absolute limits and beyond into the realm of the speculative, the provocative and the weird. The 3D Additivist Cookbook is composed of responses to that call, an extensive catalog of digital forms, material actions, and post-humanist methodologies and impressions. - The program for Digital Media at the University of the Arts Bremen launched a regular series of salon-style gatherings titled “Spectacle: Reenactments in the Arts, Design, Science and Technology.” The events have an open format and provide a forum for experiments, presentations and performances from a range of different fields, but with a common focus on old and new media, as well as technologies. The salon thereby enables a practice of reenactment as a way to make things past and hidden visible, present and also questionable. Contemporary new technologies and media seem to cover knowledge with complex layers of materials, code/sign systems and history/organization. Reenacting can translate obscured knowledge, ideas and theories into bodies and actions. At the heart of this conceptual approach is a desire to turn past events into present experiences—although the very nature of the past prohibits such an endeavor. The salon pursues the primary goal of opening closed systems and constructions (black boxes). Global power structures, as well as complex processes in development and production—leading to hermetic constructs—have made it even harder to understand science, economy and contemporary media, as well as new technologies. Recipients therefore tend to mostly grasp only their superficial level. The spectacle is a way to condense actions and processes. Reenactment, on the other hand, builds on repetition and history. But the spectacle is a moment in the here and now where everything flows together and culminates. Organised by: Andrea Sick, Ralf Baecker und Dennis Paul salon-digital.comCast: Digitale Medien KuD der HfK

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Mon, 16 Apr 2018 11:01:13 -0700 https://vimeo.com/250198657
<![CDATA[81 Year Old Commodore Amiga Artist - Samia Halaby (4K UHD)]]> https://www.youtube.com/watch?v=sDfIkXf3uzA

Samia Halaby is a world renowned painter who purchased a Commodore Amiga 1000 in 1985 at the tender age of 50 years old. She taught herself the BASIC and C programming languages to create "kinetic paintings" with the Amiga and has been using the Amiga ever since. Samia has exhibited in prestigious venues such as The Guggenheim Museum, The British Museum, Lincoln Center, The Chicago Institute of Art, Arab World Institute, Mathaf: Arab Museum of Modern Art, Sakakini Art Center, and Ayyam Gallery just to name a few. Subscribe to TheGuruMeditation ► https://www.youtube.com/channel/UCYt9E2d_GCrPzquW-5MZwmQ?sub_confirmation=1 TheGuruMeditation ► https://www.TheGuruMeditation.org Video by Bill Winters http://billwinters.net Music by J.M.D. https://jmdamigamusic.bandcamp.com This music will be the score to an upcoming Commodore Amiga game called R3D. Please support them on Patreon https://www.patreon.com/user?u=3166416

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Mon, 05 Mar 2018 04:13:05 -0800 https://www.youtube.com/watch?v=sDfIkXf3uzA
<![CDATA[Goodbye Uncanny Valley]]> https://vimeo.com/237568588

It’s 2017 and computer graphics have conquered the Uncanny Valley, that strange place where things are almost real... but not quite. After decades of innovation, we’re at the point where we can conjure just about anything with software. The battle for photoreal CGI has been won, so the question is... what happens now? CREDITS: Written and animated by Alan Warburton with the support of Tom Pounder and Wieden + Kennedy. Music by Cool 3D World (cool3dworld.com/) Special thanks to: Leanne Redfern, Nico Engelbrecht, Iain Tait, Indiana Matine, Katrina Sluis, David Surman, Jacob Gaboury and Daniel Rourke. Animated backgrounds generously provided by: • Quixel (quixel.se/) • Katarina Markovic (youtube.com/channel/UCcr4QTtAK9N96pf_Z_zVqWg) • Roman Senko (vimeo.com/rendan) Featuring work by: • Al and Al (alandal.co.uk/) • Albert Omoss (omoss.io/) • Alex McLeod (alxclub.com/) • Barry Doupe (barrydoupe.ca/) • Claudia Hart (claudiahart.com/) • Cool 3D World (cool3dworld.com/) • Dave Fothergill (vimeo.com/davefothergillvfx) • Dave Stewart (vimeo.com/davegrafix) • Drages Animation (youtube.com/user/drakhean) • El Popo Sangre (vimeo.com/elpoposangre) • Eva Papamargariti (evapapamargariti.tumblr.com/) • Filip Tarczewski (vimeo.com/ftarczewski) • Geoffrey Lillemon (geoffreylillemon.com/website/) • Jacolby Satterwhite (jacolby.com/home.html) • Jesse Kanda (jessekanda.com/) • John Butler (vimeo.com/user3946359) • Jonathan Monaghan (jonmonaghan.com/) • Jun Seo Hahm (vimeo.com/junseohahm) • Kathleen Daniel (duh-real.com/) • Katie Torn (katietorn.com/index.html) • Kim Laughton (kimlaughton.tumblr.com/) • Kouhei Nakama (kouheinakama.com/) • LuYang (luyang.asia/) • Mike Pelletier (mikepelletier.net/) • Nic Hamilton (nichamilton.info/) • Pussykrew (hybrid-universe-emulation.net/) • Rick Silva (ricksilva.net/) • Sanatorios (instagram.com/sanatorios/)Cast: Alan WarburtonTags: CGI, computer graphics, uncanny valley, technology, software, art, film, history, catmull, pixar, ilm, VFX, animation, interstellar, Nolan, avengers, experimental, economy and cool3dworld

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Mon, 16 Oct 2017 16:03:18 -0700 https://vimeo.com/237568588
<![CDATA[Episode 431: Takeshi Murata and Robert Beatty | Bad at Sports]]> https://huffduffer.com/therourke/433031

http://traffic.libsyn.com/badatsports/Bad_at_Sports_Episode_431-Murata_and_Beatty.mp3download

This week: San Francisco checks in with a great interview. Bad at Sports contributors Brian Andrews and Patricia Maloney sat down with artist Takeshi Murata and sound designer Robert Beatty on November 9, 2013, at Ratio 3, in San Francisco, to discuss Murata’s most recent digitally animated video, OM Rider(2013). OM Rider follows two animated creatures: a wizened old man that Andrews describes as “half the Curious George Man in the Yellow Suit, half like the butler from Rocky Horror Picture Show,” and a hipster wolf, which rides a moped through a barren landscape and performs other aimless tasks. The video begins with the creature playing a synthesizer that gives the video its title. Om Rider contains Murata’s characteristic absurd humor and aesthetic, which mixes highly attuned lighting and composition with more retro modeling and minimalist, almost antiseptic spaces.

Takeshi Murata was born in 1974 in Chicago. In 1997, he graduated from the Rhode Island School of Design, where he studied film, video, and animation. He currently lives and works in Saugerties, New York. Murata has exhibited at the New Museum, New York; the Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Fondazione Sandretto Re Rebaudengo, Turin, Italy; Sikemma Jenkins & Co., New York; Gladstone Gallery, New York; and Salon 94, New York. Murata’s work is featured in the collections of the Hirshhorn Museum and Sculpture Garden, Washington DC; DESTE Foundation for Contemporary Art, Athens; and The Smithsonian Museum of American Art.

FYI, AP will post an excerpted text version of this interview on Dec. 3, and the link for that conversation should be:

http://www.artpractical.com/column/interview-with-takeshi-murata/

And here is a related review Brian wrote for his previous show: http://www.artpractical.com/review/get_your_ass_to_mars_andrews/

About Latest Posts ChristopherOperations Manager at Bad at SportsChristopher Hudgens is the Operations Manager for BaS and works in various other capacities for other organizations in the Chicago Art & Culture scene. Most recently as Business Operations Manager for the Bridge Art Fair and currently an advocate for all things art & technology.

Latest posts by Christopher (see all)

Episode 577: Kerry James Marshall WLPN B@SC Radio Edit - February 28, 2017

Kevin Jennings (1979-2016) - June 28, 2016

Episode 549: James Wines SITE Architect - May 24, 2016

http://badatsports.com/2013/episode-431-takeshi-murata-and-robert-beatty/

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Thu, 28 Sep 2017 10:13:24 -0700 https://huffduffer.com/therourke/433031
<![CDATA[World's First Haunted Object 3D Scanning Project is Confusing Ghosts, Producing Paranormally-Active Prints]]> http://weekinweird.com/2017/06/17/haunted-object-3d-scanning-project-paranormal-problems/

The Traveling Museum of the Paranormal & Occult, the world’s only mobile museum of haunted artifacts, has launched the first-ever initiative to 3D scan and compile a database of paranormally-active objects.

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Mon, 26 Jun 2017 05:50:28 -0700 http://weekinweird.com/2017/06/17/haunted-object-3d-scanning-project-paranormal-problems/
<![CDATA[#Additivism Workshop: Designing Post-Natural Futures (Athens,...]]> http://additivism.org/post/161350512856

Additivism Workshop: Designing Post-Natural Futures (Athens, 10-11 Jun 2017)

12:00-18:00 - Diplareios School (Theatrou sq 3, Athens centre)This #additivism workshop led by Daniel Rourke and Geraldine Juárez invites us to an exploration of post-natural history, geo-history and Mediterranean world-ecologies, emphasizing critical perspectives driven from the intersection of art, design and activism. #Additivism, which takes 3D fabrication as its critical framework, is a portmanteau of additive and activism that exemplifies radical approaches to collective action, extending from the local through to geological timescales.In this two day workshop, we will identify and name the epistemic conditions under which “post-nature” emerges and thrives. We will take into account the additive logic of extractivism and its deep legacy in the form of techno-scientific projects such as bio- and geo-engineering. We will consider Mediterranean world-ecologies and imagine structures of knowledge and action able to exist outside or beyond “the Eurocene and Technocene initiated by Europeans.”What is Post-Nature and how does it relate to Earth’s deep geological time? In what ways could 3D fabrication affect tomorrow’s techno-natural environments? Can radical applications and speculations about its use assist in understanding the planet’s ongoing transformations?

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Fri, 02 Jun 2017 05:06:00 -0700 http://additivism.org/post/161350512856
<![CDATA[The Dark Side Of The Singularity | Answers With Joe]]> https://www.youtube.com/watch?v=bJ6QmZ48jY4

Or... How To Not Be A Horse. Automation and AI promise to usher in an era of amazing productivity and innovation. But they also threaten our very way of life.

Support me on Patreon! http://www.patreon.com/answerswithjoe

Follow me at all my places! Instagram: https://instagram.com/answerswithjoe Snapchat: https://www.snapchat.com/add/answerswithjoe Facebook: http://www.facebook.com/answerswithjoe Twitter: https://www.twitter.com/answerswithjoe

LINKS LINKS LINKS:

Tony Seba's talk about why transportation and energy will be obsolete by 2030: https://www.youtube.com/watch?v=Kxryv2XrnqM

http://www.chicagotribune.com/classified/automotive/ct-self-driving-cars-now-20160818-story.html

Okuma Automation: https://www.youtube.com/watch?v=3d-kPBbxb0Q

CNet News on the automated Amazon fulfillment centers: https://www.youtube.com/watch?v=UtBa9yVZBJM

Fully Charged - Self-Driving Nissan Leaf: https://www.youtube.com/watch?v=cfRqNAhAe6c

Partial Transcript:

For hundreds, even thousands of years, the horse was humanity’s go-to form of transportation. And in 13 years, that all changed.

Right now, we are on the cusp of a technological disruption that will make the switch from horses to cars look like switching from Coke to Pepsi.

So we talk a lot on this channel about exponential growth, artificial intelligence, the singularity, and that’s a lot of fun, but there is a dark side to all this change, one that really needs to be talked about because the way we respond to it is going to significantly alter our future as a species.

The BBC released a report just a few weeks ago that said that 30% of jobs are going to go away in the next 10 years because of automation.

In the U.S., we’ve heard a lot over the last election about the proverbial coal miners and our current president specifically campaigning to bring back coal jobs.

But coal is just one of hundreds of industries that are taking advantage of employees that can work 24/7, never need a bathroom break, never sleep, never make a mistake and work twice as fast. Oh, and you don’t have to pay them.

Factories already decimated by outsourcing are now losing even more jobs to automation. And as automation becomes more sophisticated, more industries are at risk.

The transportation sector actually makes up 25% of the jobs in the United States, if you can believe that. A full quarter of the population. And autonomous cars… They’re pretty much here, guys.

Famously, the Tesla Model 3, going into production this year, will have autonomous capability, though it may not have the software available, it will have the hardware ready for it.

But less famously, there are a lot of other car companies trying to beat Tesla to market with this. Nissan has a fully self-driving prototype in development that they took a drive in on Fully Charged and it was spooky how good it was.

Cadillac is so bullish on self-driving technology, they spent millions of dollars to create a lidar map of every highway in the United States using their own proprietary system.

This way their cars won’t just rely on sensors and GPS to find their way, the Cadillac system will contain a 3D map of everything, including the roadsigns.

Google’s working on a car, Apple supposedly is working on a car, but the people who are really big on this technology are the service providers.

Uber made over 2 billion dollars last year. Imagine how much they could make if they didn’t have to pay their drivers...

Uber has been working for years on a transportation fleet of autonomous cars, and even Ford has made some intentions known of pivoting in a similar direction.

Many are predicting that cars will go from a retail industry to a service industry, with Peter Diamandis saying that in ten years, car ownership will be an outdated idea.

The fact of the matter is, you can be for automation or against it, you can agree with its use or not, but this is happening. And we need to be ready for it.

Some people are talking about a basic minimum income, a flat amount of money that everybody in a society makes, as a safety net to keep people above water. This is an interesting idea that’s even being tested in some places.

There is a coming change on a fundamental and massive level in this world. One that is filled with amazing advancements and technological wonders. The question is, will we be able to change with it?

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Mon, 01 May 2017 05:30:01 -0700 https://www.youtube.com/watch?v=bJ6QmZ48jY4
<![CDATA[Sonic Acts 2017: The Noise of Becoming: On Monsters, Men, and Every Thing in Between]]> https://vimeo.com/209632348

SONIC ACTS FESTIVAL - THE NOISE OF BEING Daniel Rourke - The Noise of Becoming: On Monsters, Men, and Every Thing in Between 26 February 2017 - De Brakke Grond, Amsterdam, The Netherlands --- In this talk Daniel Rourke refigures the sci-fi horror monster The Thing from John Carpenter's 1982 film of the same name. The Thing is a creature of endless mimetic transformations, capable of becoming the grizzly faced men who fail to defeat it. The most enduring quality of The Thing is its ability to perform self-effacement and subsequent renewal at every moment, a quality we must embrace and mimic ourselves if we are to outmanoeuvre the monsters that harangue us. Daniel Rourke is a writer and artist based in London. In his work Daniel exploits speculative and science fiction in search of a radical ‘outside’ to the human(ities), including extensive research on the intersection between digital materiality, the arts, and posthumanism. In March 2015 artist & activist Morehshin Allahyari and Daniel released The 3D Additivist Manifesto – a call to push technologies beyond their breaking point, into the realm of the provocative, and the weird. sonicacts.com/2017/artists/daniel-rourkeCast: Sonic Acts

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Sat, 29 Apr 2017 12:02:45 -0700 https://vimeo.com/209632348
<![CDATA[Full liquid metal, now in 3D: re-visiting the freakin’ T-1000 walking out of the fiery truck crash – vfxblog]]> https://vfxblog.com/2017/02/17/terminator-2-t-1000-truck-scene-3d/

If you’ve never seen James Cameron’s Terminator 2: Judgment Day – either on the big or small screen – now’s the time to embrace this wonder of filmmaking and effects.

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Sat, 25 Mar 2017 07:49:21 -0700 https://vfxblog.com/2017/02/17/terminator-2-t-1000-truck-scene-3d/
<![CDATA[Defying Daesh – with a 3D printer]]> http://additivism.org/post/158621742950

Defying Daesh – with a 3D printer In February 2015, when videos emerged of Daesh (ISIS) ransacking the Mosul museum in Iraq, Morehshin Allahyari decided to act. Operation Troll ISIS: inside Anonymous’ war to take down Daesh

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Mon, 20 Mar 2017 01:51:54 -0700 http://additivism.org/post/158621742950
<![CDATA[Centre Pompidou: quand les artistes impriment le monde en 3D «...]]> http://additivism.org/post/158472323339

Centre Pompidou: quand les artistes impriment le monde en 3D « Mutations/Créations », c'est le nom du nouveau rendez-vous annuel du Centre Pompidou-Paris. Une manifestation déroutante dédiée aux relations bouillonnantes entre les artistes et l’innovation technologique, entre l’art et la science.

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Thu, 16 Mar 2017 05:34:56 -0700 http://additivism.org/post/158472323339
<![CDATA[Transmediale’s Revolution from Within]]> http://additivism.org/post/157523492477

Transmediale’s Revolution from WithinBenjamin Busch writes about the ‘alien matter’ exhibition at Transmediale, featuring The 3D Additivist Cookbook: Does agency lie in the human, the machine, or the mediation in between? Agency can be staked out in two concepts of freedom: a negative freedom-from (a refusal of things as they are) and a positive freedom-to (a refusal and simultaneously future-building project). The former entails resistance, even a claim to purity by refusing to participate in an unjust system. The latter entails refusal, but it also contains a recognition of contingency (“there is no outside”) as a means to construct an alternative future from within the entangled complex of the present.Transmediale, Berlin’s festival for art and digital culture, makes a case for the latter. Aptly titled ever elusive, the 2017 edition, its 30th anniversary, draws from the festival’s three-decade history while keeping its orientation toward the future. The theme of perpetual elusiveness picks up on expressed ambiguities between the human and nonhuman, which have become evermore intertwined. - Read the rest at ArtSlant

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Tue, 21 Feb 2017 02:43:15 -0800 http://additivism.org/post/157523492477
<![CDATA[The “3D Additivist Cookbook” is a guide to subversive making]]> http://additivism.org/post/157321589314

The “3D Additivist Cookbook” guide to subversive making The “3D Additivist Cookbook” was launched at Transmediale in Berlin on January 31. About a hundred artists, makers and activists contributed to this book of 3D printing recipes and imaginative and provocative methods.

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Thu, 16 Feb 2017 10:08:52 -0800 http://additivism.org/post/157321589314
<![CDATA[Rosa Menkman clipping from The 3D Additivist Cookbook]]> http://www.flickr.com/photos/r00s/32684751101/

Rosa Menkman

additivism.org

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Thu, 09 Feb 2017 12:55:34 -0800 http://www.flickr.com/photos/r00s/32684751101/