It has been a very hectic and exciting few months, and Morehshin and I have a lot more planned for 2016. Towards the Spring and early Summer we will begin working closely on editing, laying out and publishing The 3D Additivist Cookbook. In the meantime, here are a host of events and exhibitions #Additivism will be a part of.

Additivism in 2016:

Between January 16th and 22nd The 3D Additivist Manifesto will be featured in White Screen, an online exhibition, curated by Caroline Delieutraz for Jeune Création exhibition at Thaddaeus Ropac gallery in Pantin, France. On February 4th #Additivism will be part of Transmediale, Berlin. I hope to see you at the Disnovation Research panel. From February 25th Morehshin and Daniel will both be in Amsterdam to take part in Sonic Acts Academy. You can sign up for our workshop! From March 18th we are travelling to New Zealand to be artists in residence at Auckland University’s COLAB.

From 23rd – 30th September Morehshin Allahyari and I will be artists in residence for 2015 VIA Festival, Pittsburgh, for the Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University. During our residency will deliver a series of lectures, a day long workshop, and work on our forthcoming 3D Additivist Cookbook.

Artist Residency // Ongoing Allahyari and Rourke will be in residence in the STUDIO editing their forthcoming 3D Additivist Cookbook of blueprints, designs, 3D print templates, and essays on the topics raised by the 3D Additivist Manifesto. Artist Lecture // Thursday, September 24th, 5:00 p.m. A talk and Q&A session by Morehshin Allahyari and Daniel Rourke about The 3D Additivist Manifesto + forthcoming Cookbook in addition to the screening of The 3D Additivist Manifesto video. Artists will talk about their own research and practice in relationship to Additivism and 3D printing. 3D Additivist Workshop // Friday, September 25th 10am-6:00pm What is #Additivism: A Collaborative Workshop Investigate #Addivist ideas in your own work during a day-long workshop with the artists. Conceive, design, and prepare works for fabrication with potential for projects to be submitted to the Cookbook -> Click here to register for the workshop

The 3D Additivist Manifesto was created in collaboration with Morehshin Allahyari, with sound design by Andrea Young

The 3D Additivist Manifesto + Cookbook blur the boundaries between art, engineering, science fiction, and digital aesthetics. We call for you – artists, activists, designers, and critical engineers – to accelerate the 3D printer and other Additivist technologies to their absolute limits and beyond into the realm of the speculative, the provocative and the weird. Answer the call: 3d.additivism.org

Additivism is essential for accelerating the emergence and encounter with The Radical Outside.

Shiraz Art House • Daralhokoomeh Project • May/June 2014 As part of Bitrates - an exhibition curated by Morehshin Allahyari and Mani Nilchiani at the Dar-ol-Hokoomeh Project, Shiraz, Iran – I asked 50 artists to create or curate an animated GIF with a short snippet of audio, to be looped together ad infinitum at GIFbites.com. For the opening of Bitrates on May 23rd a select version of this project will be displayed in the gallery, followed by a complete showcase of all the GIFs for the GIFbites exhibition, opening on May 30th in Shiraz Art House (Daralhokoomeh Project). GIFbites In an era of ubiquitous internet access and the extensive post-production of HD and 3D images, the animated GIF has an ironic status. Small in dimension and able to be squeezed through the slenderest of bandwidths, GIFs hark back to a World Wide Web designed for 640×480 pixel screens; a web of scrolling text, and not much else. Brought on – ironically – by their obsolescence the animated GIF has become a primary medium of communication on the contemporary net. The simplicity, freedom and openness of the medium allows even the most amateur web enthusiast to recuperate images plucked from TV, cinema, YouTube, CCTV footage, cartoons, videogames and elsewhere in their desire to communicate an idea or exclamation to the world. GIFbites is a mesmerising homage to brevity and the potential of poor, degraded images to speak beyond the apparent means of their bitrates. The results will hopefully navigate the web for many years to come, stimulating cut-and-paste conversations undefinable by Google’s search algorithms. GIFbites Project Page • بیت بر ثانیه / Bitrates Facebook Event Coming Soon: Bitrates/GIFbites Lp! Featuring the work of 50 artists

Morehshin Allahyari Mizaru/Kikazaru/Kyoungzaru Kim Asendorf & Ole Fach

Eltons Kuns Anthony Antonellis Lawrence Lek

LaTurbo Avedon Gretta Louw Jeremy Bailey

Sam Meech Alison Bennett Rosa Menkman

Emma Bennett A Bill Miller Benjamin Berg

Lorna Mills Hannah Black Shay Moradi

Andrew Blanton Nora O Murchú Nicolas Boillot

Alex Myers Tim Booth Peggy Nelson

Sid Branca David Panos Nick Briz

Eva Papamargariti elixirix Holly Pester

Jennifer Chan Antonio Roberts Theodore Darst

Daniel Rourke Angelina Fernandez Alfredo Salazar-Caro

Annabel Frearson Rafia Santana Carla Gannis

Jon Satrom Emilie Gervais Erica Scourti

Shawné Michaelain Holloway Krystal South Nathan Jones

Arjun Ram Srivatsa Nick Kegeyan Linda Stupart

Jimmy Kipple Sound Daniel Temkin

For 3 years I have collaborated on a project with Kyoung Kim. Known as GLTI.CH Karaoke, or sometimes just GLTI.CH, we’ve plotted the course of accidents, of temporal lyrical disjoints and technical out-of-syncs through a wide variety of different mediums, spaces and social conditions. This week saw what feels like the climax of our experiments, a three day – 67 hour – installation at CRYSTALLIZE, an exhibition of new media art held alongside the 2013 Korea Brand & Entertainment Expo, at Old Billingsgate, London. GLTI.CH has played a significant part in my practice and thus my thinking over the last 3 years. Working with Kyoung has afforded me countless experiences and opportunities, and introduced me to the world of glitch, digital, net and new media arts and artists. The project is not over, but its Karaoke phase is drawing to a conclusion. I thought it would be a good time to republish this half-considered manifesto I wrote a while back. 15 Statements about Glti.ch Notworking What makes out today’s networking is the notworking. There would be no routing if there were no problems on the line. Spam, viruses and identity theft are not accidental mistakes, mishaps on the road to techno perfection. They are constitutional elements of yesterday’s network architectures. Lovink, Gert. (2005), “The Principle of Notworking Concepts in Critical Internet Culture,” p. 10 GLTI.CH Karaoke is not a hack or some fancy programming. It’s taking the front-end of things and trying to make something else. We’ve made the mishmashed world of GLTI.CH Karaoke through play and we hope you’ll sing with us. karaoke, glti.ch (2011), “WHAT IS GLTI.CH KARAOKE?”

Glti.ches are more than aesthetic revelations: as software crashes, or hardware halts to a stutter, the soft underbelly of the notwork is exposed. The trick is to see the glti.ch not as an abhorrence, but as a signal of noisy potential: error and noise are an implicit feature of digital materiality. What Gaston Bachelard called ‘Desire Paths’, physical etchings in our surroundings drawn by the thoughtless movement of (human) feet, also exist online. For those versed in the language of the glti.ch, desire equals subversion and the means of flight – a way to reverse the roles of power. The line of desire in these cases is often laid directly over the enclosed path. Being buffered along by the unruly torrents of technical failure, the true semblance of the glti.ch is impossible to pin down: notwork control mechanisms have desirable unintended effects. The kludge is a hands-on, makeshift solution, to an unpredictable technical or social problem: 100% of cargo cult coders, pirates, glti.ch artists and hackers started out as kludgers. Algorithms that churn your Google search, or offer you potential meta-data with which to imbricate your image collection into the logic of the database, have themselves become actors in the play of human relations. Digital formats as diverse as ePub, DivX, and GIF, and software platforms from the likes of Google, Microsoft or Apple, trace narrative arcs which are themselves transcodable relations. Interruption, stutters and breaks force us into encounters with the world, exposing the circuitry that we as consumers are expected to elude into the background. Digital copies, being copied, forever copying, exert an unruly behaviour that exposes the material world. The most astonishing thing about the notwork is how any order can be maintained in it at all. The more regulations imposed upon the notworks, the more interesting the resulting glti.ches will be in their variation/liberation. Human beings are material entities, buffered by the same stops and starts as the notwork. Participating in the glti.ch, in the artifact that exposes the failure, is to align oneself with material reality. The glti.ch is a social phenomenon.

I am very pleased to have an essay/chapter in This Mess is a Place, a collection on hoarding and clutter, edited, compiled and misfiled by Zoë Mendelson. The book is currently available at Camden Arts Centre, with wider distribution to follow from the very wonderful AND Publishing.

This Mess is a Place: A Collapsible Anthology of Collections and Clutter is a limited edition publication, edited/curated by Zoë Mendelson and published by And Publishing.

This publication looks at the onset of hoarding through the voices of clinicians and expands the theme to examine how relationships to objects in space inform a number of fields in ways that can be seen to interrelate and impact upon each other. The idea behind the form of this anthology is that practice and artistic research can co-exist with more clinical and scientific research. It is hoped this will create overlaps and crises of ‘usefulness’ akin to the submersion of materials within a hoard or the pursuit of order within a collection. The publication itself is unbound – illogical and precarious as an object, containing loose leaves, pamphlets and nominal filing systems, gathered together in no particular order. The reader is ultimately responsible for the order (or dis-order) of the piece. Publication date is October 26th 2013.

It includes articles, artworks, interviews and fiction. Alongside This Mess is a Place's own collaborators from psychiatric and archival fields there are contributions of artistic projects from Jim Bay (UK); Michel Blazy (FR); Carrie M Becker (USA); Marjolijn Dijkman (NL); Nat Goodden (UK), Jefford Horrigan (UK); Dean Hughes (UK); Mierle Laderman Ukeles (USA); Robert Melee (USA); Zoë Mendelson (UK); Florence Peake (UK); Michael Samuels (UK); Kathryn Spence (USA); Tomoko Takahashi; Robin Waart (NL); Julian Walker (UK) and Laura White (UK).

The publication contains essays and documents by Dr. Colin Jones (Senior Lecturer/Researcher in Applied Health and Social Sciences, UK); Dr. Haidy Geismar (lecturer in digital anthropology and material culture, US/UK); Jeremy Gill (urban planner and theorist, AUS); Cecilie Gravesen (artist, curator and writer, UK/Den); Dr. Alberto Pertusa (consultant psychiatrist, UK); Daniel Rourke (artist and researcher, UK); Isobel Hunter (archivist and Head of Engagement at the National Archives, UK); Satwant Singh (nurse practitioner and cognitive behavourial therapist, UK); Nina Folkersma (curator and critic, NL); Alberto Duman (artist, writer, UK). A full list of essay titles can be seen here. The publication also includes documentary photography by Paula Salischiker (ARG) and an interview with an anonymous hoarder's daughter

I have some work in A Shot to the Arse, an exhibition coming August 14th at Michaelis Galleries, Cape Town. Many thanks to Belinda Blignaut!

Last year I released a music single through iTunes. Entitled RAWTunes.exe 10.4.2, it was my first forray into sound-art/noise-art. I AM a popstar. I am proud to announce the release of my 8 track album RAWTunes.exe 10! You can listen to a selection of tracks below (making sure that all small children and dogs are at a safe distance), or buy the whole lot for £7.99: RAWTunes.exe 10 by machinemachine It took me about 20 minutes to make this album. Here’s how you can do it yourself:

Using a program like Audacity, open ANY file as RAW data Choose your conversion method The file you send to iTunes and release to the world MUST be in this format: 16 bit (sample size), 44.1 kHz (sample rate), 1411 kbps (bit rate) stereo wav So, after playing with your file (or not doing anything in particular) export it with these options Using a service like TuneCore, release your album to the world Become a famous Noise artist like me

I chose to convert a series of iTunes executable files, each one plucked from a long list of releases under the iTunes 10 label, but you can choose anything. Have a look on Souncloud for a bunch of people who have done just this. This is ‘art’, so of course my work has to be critically engaged, and self aware. Thankfully, iTunes regulations make this really easy: Content that is not produced by Apple Inc. must not include the word “iTunes” anywhere in the metadata or cover art. I would argue that the content of my album is 100% ‘produced by Apple Inc.’ but they wouldn’t let me call it ‘iTunes.exe 10′. It was only after several iterations of cover art that the album was allowed into the Apple store. These are just some of the woes that a true Noise artist must suffer in the pursuit of their art.

Saturday 2nd April : Come and join us a for an afternoon of GLTI.CH KARAOKE! GLTI.CH KARAOKE will be hosting this live karaoke event in conjunction with the citizens of Kumamoto City, Japan. All proceeds raised at Glitch Karaoke will go to The Japan Society Tohoku Earthquake Relief Fund. Defy human spacetime by warbling Elvis, the Spice Girls, and Beat Crusaders with friends in London and Kumamoto at the Meanwhile Space (Whitechapel) at the End of the Universe with the power of Skype, hand-me-down computers, and mutual love of amateur live singing. Free to attend, donations encouraged. There will be drinking and singing, but no pressure to do either! The event kicks off at 12 Midday, Meanwhile Space, 3-5 Whitechapel Road, London

WHAT ON EARTH IS GLTI.CH KARAOKE?

GLTI.CH KARAOKE is a virtual jukebox oozing with time-delayed, glitchy fun. Streaming live, over the web, London and Kumamoto will be joined in a sing off to end all sing offs. GLTI.CH KARAOKE will take place in Meanwhile’s underground space where the nine hour difference between the UK and Japan becomes meaningless, and all that matters is that the interwebs keep running and the participants keep on singing.

If you have a favourite song you’d like to see at GLTI.CH KARAOKE, send us the YouTube video or post it here. Language is no barrier – just as long as you can find it on YouTube, we’ll try and sing it! FOLLOW GLTICH KARAOKE AT twitter @gltich visit our website GLTI.CH and invite your friends via our Facebook Event Page