Exhibition: The World Without Us. Narratives on the age of non-human actors (22nd Oct 2016 - 5th March 2017) The 3D Additivist Manifesto is part of ‘The World Without Us’ exhibition, currently open at HMKV Dortmund:In „The World Without Us“ humans will be replaced by machines, Artificial Intelligences will be optimized by other AIs and algorithms will be programmed by self-learning algorithms. In this way a radically different, post-anthropocentric world could develop where non-human life forms would eventually prove to be better adaptable than humans.

This talk was delivered as the plenary paper for The 11th Interdisciplinary Social Sciences Conference, Imperial College, London, 2nd August 2016. You can find the full content of the talk beneath the slides in the comments section, or click the gear icon below and select ‘Open speaker notes’ It is presented here under a Creative Commons BY-NC-SA 4.0 licence – please use as you wish, but always reference and refer back to this post or the slide show.

“Any sufficiently advanced civilisation is indistinguishable from its garbage.” – Bruce Sterling

Additivism Talk at Spike Island, Bristol (11th July 2016)On July 11th at Spike Island, Bristol, Daniel Rourke will present his ongoing collaboration with Morehshin Allahyari: The 3D Additivist Manifesto and forthcoming Cookbook. A call to push 3D printing and additive technologies to their absolute limits and beyond, into the realm of the speculative, the provocative and the weird.Drawing metaphoric connections between Additive manufacturing and Geological processes, Daniel will talk about plastic, deep time and the incidental production of ‘pseudomorphs’ – destined to outlast the humans that create them.“The fate of ‘man’ in the Anthropocene is not that he will be erased, but that he will be made immortal, as a trace preserved forever in the rock.”- Bronislaw Szerszynski, The End of the End of Nature: The Anthropocene and the Fate of the Human, (2012) Book your place!This event is part of Point Line Time, a drawing research project led by artist and writer Tamarin Norwood as part of her twelve-month residency at Spike Island, Bristol. Throughout her residency, Norwood is working with a network of researchers and practitioners including an animator, a 3D print engineer, a choreographer and a sign language translator to explore the acts of drawing and writing in relation to time and three-dimensional space. She hosts a series of public conversations, presentations and live experiments as she develops a new body of work.

The 3D Additivist Manifesto at HMKV, Dortmund (May 2016)In the series HMKV Video of the Month, HMKV presents current video works by international artists for the duration of one month each. In May 2016 we are presenting The 3D Additivist Manifesto by Morehshin Allahyari & Daniel Rourke.Morehshin Allahyari & Daniel RourkeThe 3D Additivist Manifesto (Das 3D-Additivistische Manifest)Video, 2015, 10:11 Min.Almost 100 years after its publication Morehshin Allahyari & Daniel Rourke are updating the Futurist Manifesto (1909) by Filippo Tommaso Marinetti in a dark but appropriate way.

Accelerationist ArtDespite its image of rapid technological change, progress under capitalism has stalled. Spinning ever faster is not the same as going somewhere. Contemporary Accelerationism wants to take off the brakes, and it is enlisting art’s help to do so……Morehshin Allahyari & Daniel Rourke have produced the Additivist Manifesto for art in the Anthropocene (the video for it features the “Urinal” 3D printable model I commissioned from Chris Webber). They “…call for you to accelerate the 3D printer and other technologies to their absolute limits and beyond into the realm of the speculative, the provocative and the weird”. This is the kind of acceleration through (and into) art that works as both epistemic and left accelerationism without merely illustrating the program of or being instrumentalised by either. It is accelerated critical theory.

»Wir haben die Möglichkeit, Dinge auferstehen zu lassen« Warum tut es vielen Menschen fast körperlich weh zu sehen, wie Terroristen auf Statuen mit dem Vorschlaghammer einhauen? Weil diese Kunstwerke die Geschichte und Kultur von 3000 Jahren Zivilisation repräsentieren.

SONIC ACTS ACADEMY #Additivism: An Encounter with The Fluid Outside 28 February 2016 - De Brakke Grond, Amsterdam, the Netherlands --- A talk and Q&A session by Morehshin Allahyari and Daniel Rourke about The 3D Additivist Manifesto + The 3D Additivist Cookbook and the artist’s own research and practice in relationship to #Additivism, activism, and critical/poetic approaches to 3D printing. #Additivism is a collaboration between artist and activist Morehshin Allahyari and writer/artist/academic Daniel Rourke. In March 2015 they released The 3D Additivist Manifesto: a call to push additive manufacturing technologies to their absolute limits and beyond, into the realm of the speculative, the provocative and the weird. They then issued a call for submissions for a radical ‘Cookbook‘ of blueprints, designs, 3D print templates, and essays on the topics raised by their Manifesto including text and projects on environmental ethics, objects in movements for social and political change, the renewed contemporary significance of the artist manifesto by the likes of the Accelerationist and Xenofeminist movements, and the potential of radical intervention in contemporary technocapitalism.Cast: Sonic Acts

“Your Shiny Plastic Future Is a Load of Crap”: #Additivism interviewed for HyperallergicGretta Louw interviewed us for Hyperallergic:It was hugely important to us that the manifesto undermine the position from which it is situated. We tried to show the limits and contradictions in our own thinking. The manifesto performs a critique of itself through irony, contradiction, and self-ridicule. The language of the manifesto breaks down and degrades, just like any system accelerated to its limits. Andrea Young’s amazing sound design for the video was also paramount in performing that quality.But I’m going to try to answer your question from more of a perspective of personal experience. One of the things that I have thought about the most in the last couple of years is the new potentials of species-being that new technologies facilitate. As a woman from the Middle East, I interact with a heteropatriarchy, capitalist, colonialist world, and so much of that experience creates a certain kind of alienation that is unique to my very personal/political experience. I deeply connect with a sentence in the Xenofeminism Manifesto — “If nature is unjust; change nature” — and Donna Haraway’s command to “Make Kin Not Babies!” For me, these two are about many things from the past that I want to resist and rebuild. With #Additivism, we want to explore ways of turning alienation into expressions of power.↪ Read the full interview here

Sign up: Sonic Acts #Additivism Workshop (29 Feb - 1 Mar, 2016)

There are still places available for our #Additivism Workshop at Sonic Acts Academy, on the theme of ‘Post-Nature’. Sign up!Workshop The 2-day 3D Additivism workshop, which will take place immediately after the Sonic Acts Academy (29 February & 1 March), will be presented as an expanded lecture and as a workshop. During the workshop participants will be encouraged to reconsider the terms under which human-centric technologies affect the ongoing transformation of nature into ‘post-nature’, as well as the moral and philosophical implications of actively seeking to steer our technologies towards this end.  Participants will be guided through the processes of additive design with the aim of producing speculative ‘post-natural’ objects for possible inclusion in the forthcoming 3D Additivist Cookbook. Questions such as: “How do we imagine structures of knowledge and action that exist outside or beyond human beings and our technologies?” and: “Is it possible to ‘write’ into, to ‘design’ alternate futures, without limiting what they (and we) might become?” will form a red threat.   

Additivism Workshop @ Sonic Acts, Amsterdam (Feb/March 2016)We are excited to announce a 2 day #Additivism Workshop as part of Sonic Acts Academy, Feb/March 2016

The Sonic Acts Academy relates to topics that are connected to the ‘dark matter’ theme Sonic Acts is currently investigating with its projects such as Dark Ecology and The Geologic Imagination, informed by the realisation that we live in the Anthropocene, and questioning how this forces us to rethink concepts of nature, culture, technology, and ecology. The workshop is open to artists, theorists, designers, engineers, scientists, thinkers, doers and makers who are interested in alternative approaches to theory-led forms of practice. Participants are ideally filled with fears and enthusiasm for the future. To apply please send a short bio, a motivation why you would like to attend, and your expectations to masterclass[@]sonicacts[.]com.

In February 2000, Paul J. Crutzen erupted at a scientific conference in Mexico. Five years previously, the Dutch-born atmospheric chemist had been awarded the Nobel Prize for being one of the first to recognize and investigate the dangers to the protective layer around Earth.

“In a single lifetime we have grown into a phenomenal global force. We move more sediment and rock annually than all natural processes such as erosion and rivers. We manage three quarters of all land outside the ice sheets.

ISIS vs. 3D Printing: On Morehshin Allahyari's 'Material Speculation: ISIS' project: Men descend on the venerated space, laying waste to anything they can topple. Armed with sledgehammers, power drills, and cellphone cameras, they leave dust and stones in their wake, mere suggestions of the priceless artifacts proudly displayed only hours before…Time and again, conflict has been bad news for historical artifacts and sculptures. There was the infamous burning of the Library of Alexandria, the destruction of the Buddhas of Bamiyan in Afghanistan by the Taliban, and the Nazi’s battle to burn as much “degenerate art” as they could find. Swept up in a violent fervor, mobs and soldiers have been quick to destroy what took societies centuries to create; what museums and collectors spent decades collecting, preserving, and documenting for the public.The digital era looks different: files can be cheaply hosted in data centers spread across several states or continents to ensure permanence. Morehshin Allahyari, an Iranian born artist, educator, and activist, wants to apply that duplicability to the artifacts that ISIS has destroyed.Now, Allahyari is working on digitally fabricating the sculptures for a series called “Material Speculation” as part of a residency in Autodesk’s Pier 9 program. The first in the series is “Material Speculation: ISIS,” which, through intense research, is modeling and reproducing statues destroyed by ISIS in 2015. Allahyari isn’t just interested in replicating lost objects but making it possible for anyone to do the same: Embedded within each semi-translucent copy is a flash drive with Allahyari’s research about the artifacts, and an online version is coming.

A sheet of glass stretches along the entryway of the University of Leicester’s geology department. The glass protects a collection of fossils that are mounted to the wall in swirls, as if spiraling out of primordial time.