I just came back from two jam packed weeks at Transmediale festival, 2017. Morehshin Allahyari and I were involved in a wealth of events, mostly in relation to our #Additivism project. Including: On the Far Side of the Marchlands: an exhibition at Schering Stiftung gallery, featuring work by Catherine Disney, Keeley Haftner, Brittany Ransom, Morehshin and myself.

Photos from the event are gathered here.

The 3D Additivist Cookbook european launch: held at Transmediale on Saturday 4th Feb.

Audio of the event is available here.

Singularities: a panel and discussion conceived and introduced by Morehshin and myself. Featuring Luiza Prado & Pedro Oliveira (A parede), Rasheedah Phillips, and Dorothy R. Santos.

Audio of the entire panel is available here. The introduction to the panel – written by Morehshin and myself – can be found below. Photos from the panel are here.

Alien Matter exhibition: curated by Inke Arns as part of Transmediale 2017. Featuring The 3D Additivist Cookbook and works by Joey Holder, Dov Ganchrow, and Kuang-Yi Ku.

Photos from the exhibition can be found here.

Singularities Panel delivered at Transmediale, Sunday 5th February 2017 Introduction by Morehshin Allahyari and Daniel Rourke   Morehshin: In 1979, the Iranian Islamic revolution resulted in the overthrowing of the Pahlavi deen-as-ty and led to the establishment of an Islamic republic. Many different organizations, parties and guerrilla groups were involved in the Iranian Revolution. Some groups were created after the fall of Pahlavi and still survive in Iran; others helped overthrow the Shah but no longer exist. Much of Iranian society was hopeful about the coming revolution. Secular and leftist politicians participated in the movement to gain power in the aftermath, believing that Khomeini would support their voice and allow multiple positions and parties to be active and involved in the shaping of the post-revolution Iran. Like my mother – a Marxist at the time – would always say: The Iranian revolution brought sudden change, death, violence in unforeseen ways. It was a point, a very fast point of collapse and rise. The revolution spun out of control and the country was taken over by Islamists so fast that people weren’t able to react to it; to slow it; or even to understand it. The future was now in the hands of a single party with a single vision that would change the lives of generations of Iranians, including myself, in the years that followed. We were forced and expected to live in one singular reality. A mono authoritarian singularity. In physics, a singularity is a point in space and time of such incredible density that the very nature of reality is brought into question. Associated with elusive black holes and the alien particles that bubble out of the quantum foam at their event horizon, the term ‘singularity’ has also been co-opted by cultural theorists and techno-utopianists to describe moments of profound social, political, ontological or material transformation. The coming-into-being of new worlds that redefine their own origins. For mathematicians and physicists, singularities are often considered as ‘bad behaviour’ in the numbers and calculations. Infinite points may signal weird behaviours existing ‘in’ the physical world: things outside or beyond our ability to comprehend. Or perhaps, more interestingly, a singularity may expose the need for an entirely new physics. Some anomalies can only be made sense of by drafting a radically new model of the physical world to include them. For this panel we consider ‘bad behaviours’ in social, technological and ontological singularities. Moments of profound change triggered by a combination of technological shifts, cultural mutations, or unforeseen political dramas and events. Like the physicists who comprehend singularities in the physical world, we do not know whether the singularities our panelists highlight today tell us something profound about the world itself, or force us to question the model we have of the world or worlds. Daniel: As well as technological or socio-political singularities, this panel will question the ever narcissistic singularities of ‘I’, ‘here’ and ‘now’ – confounding the principles of human universality upon which these suppositions are based. We propose ‘singularities’ as eccentric and elusive figures in need of collective attention. It is no coincidence that ‘Singularity’ is often used as a term to indicate human finitude. Self-same subjects existing at particular points in time, embedded within particular contexts, told through a singular history or single potential future. The metaphor of the transformative Singularity signals not one reality ‘to come’, nor even two realities – one moved from and one towards – but of many, all dependant on who the subject of the singularity is and how much autonomy they are ascribed. The ‘Technological’ Singularity is a myth of the ‘transhumanists’, a group of mainly Western, commonly white, male enthusiasts, who ascribe to the collective belief that technology will help them to become ‘more than human’… ‘possessed of drastically augmented intellects, memories, and physical powers.’ As technological change accelerates, according to prominent Transhumanist Ray Kurzweil, so it pulls us upwards in its wake. Kurzweil argues that as the curve of change reaches an infinite gradient reality itself will be brought into question: like a Black Hole in space-time subjects travelling toward this spike will find it impossible to turn around, to escape its pull. A transformed post-human reality awaits us on the other side of the Technological Singularity. A reality Kurzweil and his ilk believe ‘we’ will inevitably pass into in the coming decades. In a 2007 paper entitled ‘Droppin’ Science Fiction’, Darryl A. Smith explores the metaphor of the singularity through Afro-American and Afrofuturist science fiction. He notes that the metaphor of runaway change positions those subject to it in the place of Sisyphus, the figure of Greek myth condemned to push a stone up a hill forever. For Sisyphus to progress he has to fight gravity as it conspires with the stone to pull him back to the bottom of the slope. The singularity in much science fiction from black and afro-american authors focusses on this potential fall, rather than the ascent:

“Here, in the geometrics of spacetime, the Spike lies not at the highest point on an infinite curve but at the lowest… Far from being the shift into a posthumanity, the Negative Spike is understood… as an infinite collapsing and, thus, negation of reality. Escape from such a region thus requires an opposing infinite movement.”

The image of a collective ‘push’ of the stone of progress up the slope necessarily posits a universal human subject, resisting the pull of gravity back down the slope. A universal human subject who passes victorious to the other side of the event horizon. But as history has shown us, technological, social and political singularities – arriving with little warning – often split the world into those inside and those outside their event horizons. Singularities like the 1979 Iranian revolution left many more on the outside of the Negative Spike, than the inside. Singularities such as the Industrial Revolution, which is retrospectively told in the West as a tale of imperial and technological triumph, rather than as a story of those who were violently abducted from their homelands, and made to toil and die in fields of cotton and sugarcane. The acceleration toward and away from that singularity brought about a Negative Spike so dense, that many millions of people alive today still find their identities subject to its social and ontological mass. In their recent definition of The Anthropocene, the International Commission on Stratigraphy named the Golden Spike after World War II as the official signal of the human-centric geological epoch. A series of converging events marked in the geological record around the same time: the detonation of the first nuclear warhead; the proliferation of synthetic plastic from crude oil constituents; and the introduction of large scale, industrialised farming practices, noted by the appearance of trillions of discarded chicken bones in the geological record. Will the early 21st century be remembered for the 9/11 terrorist event? The introduction of the iPhone, and Twitter? Or for the presidency of Donald J Trump? Or will each of these extraordinary events be considered as part of a single, larger shift in global power and techno-mediated autonomy? If ‘we’ are to rebuild ourselves through stronger unities, and collective actions in the wake of recent political upheavals, will ‘we’ also forego the need to recognise the different subjectivities and distinct realities that bubble out of each singularity’s wake? As the iPhone event sent shockwaves through the socio-technical cultures of the West, so the rare earth minerals required to power those iPhones were pushed skywards in value, forcing more bodies into pits in the ground to mine them. As we gather at Transmediale to consider ai, infrastructural, data, robotic, or cyborgian revolutions, what truly remains ‘elusive’ is a definition of ‘the human’ that does justice to the complex array of subjectivities destined to be impacted – and even crafted anew – by each of these advances. In his recent text on the 2011 Fukushima Daiichi nuclear disaster Jean-Luc Nancy proposes instilling “the condition of an ever-renewed present” into the urgent design and creation of new, mobile futures. In this proposition Nancy recognises that each singularity is equal to all others in its finitude; an equivalence he defines as “the essence of community.” To contend with the idea of singularities – plural – of ruptures as such, we must share together that which will forever remain unimaginable alone. Morehshin: This appeal to a plurality of singularities is easily mistaken for the kinds of large scale collective action we have seen in recent years around the world. From the Arab Springs, and Occupy Movement through to the recent Women’s March, which took place not 24 hours after the inauguration of Donald Trump. These events in particular spoke of a universal drive, a collective of people’s united against a single cause. Much has been written about the ‘human microphone’ technique utilized by Occupy protesters to amplify the voice of a speaker when megaphones and loud speakers were banned or unavailable. We wonder whether rather than speak as a single voice we should seek to emphasise the different singularities enabled by different voices, different minds; distinct votes and protestations. We wonder whether black and brown protestors gathered in similar numbers, with similar appeals to their collective unity and identity would have been portrayed very differently by the media. Whether the radical white women and population that united for the march would also show up to the next black lives matter or Muslim ban protests. These are not just some academic questions but an actual personal concern… what is collectivism and for who does the collective function? When we talk about futures and worlds and singularities, whose realities are we talking about? Who is going to go to Mars with Elon Musk? And who will be left? As we put this panel together, in the last weeks, our Manifesto’s apocalyptic vision of a world accelerated to breaking point by technological progress began to seem strangely comforting compared to the delirious political landscape we saw emerging before us. Whether you believe political mele-ee-ze, media delirium, or the inevitable implosion of the neo-liberal project is to blame for the rise of figures like Farage, Trump or – in the Philippines – the outspoken President Rodrigo Duterte, the promises these figures make of an absolute shift in the conditions of power, appear grand precisely because they choose to demonize the discrete differences of minority groups, or attempt to overturn truths that might fragment and disturb their all-encompassing narratives. Daniel: The appeal to inclusivity – in virtue of a shared political identity – often instates those of ‘normal’ body, race, sex, or genome as exclusive harbingers of the-change-which-should – or so we are told, will – come. A process that theorist Rosi Braidotti refers to as a ‘dialectics of otherness’ which subtly disguises difference, in celebration of a collective voice of will or governance. Morehshin: Last week on January 27, as part of a plan to keep out “Islamic terrorists” outside of the United States Trump signed an order, that suspended entry for citizens of seven countries for 90 days. This includes Iran, the country I am a citizen of. I have lived in the U.S. for 9 years and hold a green-card which was included in Trump’s ban and now is being reviewed case by case for each person who enters the U.S.. When the news came out, I was already in Berlin for Transmediale and wasn’t sure whether I had a home to go back to. Although the chaos of Trump’s announcement has now settled, and my own status as a resident of America appears a bit more clear for now, the ripples of emotion and uncertainty from last week have coloured my experience at this festival. As I have sat through panels and talks in the last 3 days, and as I stand here introducing this panel about elusive events, potential futures and the in betweenness of all profound technological singularities… the realities that feel most significant to me are yet to take place in the lives of so many Middle-Easterners and Muslims affected by Trump’s ban. How does one imagine/re-imagine/figure/re-figure the future when there are still so many ‘presents’ existing in conflict? I grew up in Iran for 23 years, where science fiction didn’t really exist as a genre in popular culture. I always think we were discouraged to imagine the future other than how it was ‘imagined’ for us. Science-fiction as a genre flourishes in the West… But I still struggle with the kinds of futures we seem most comfortable imagining. THANKS   We now want to hand over to our fantastic panelists, to highlight their voices, and build harmonies and dissonances with our own. We are extremely honoured to introduce them: Dorothy Santos is a Filipina-American writer, editor, curator, and educator. She has written and spoken on a wide variety of subjects, including art, activism, artificial intelligence, and biotechnology. She is managing editor of Hyphen Magazine, and a Yerba Buena Center for the Arts fellow, where she is researching the concept of citizenship. Her talk today is entitled Machines and Materiality: Speculations of Future Biology and the Human Body. Luiza Prado and Pedro Oliveira are Brazilian design researchers, who very recently wrapped up their PhDs at the University of the Arts Berlin. Under the ‘A Parede’ alias, the duo researches new design methodologies, processes, and pedagogies for an onto-epistemological decolonization of the field. In their joint talk and performance, Luiza and Pedro will explore the tensions around hyperdense gravitational pulls and acts of resistance. With particular focus on the so-called “non-lethal” bombs – teargas and stun grenades – manufactured in Brazil, and exported and deployed all around the world. Rasheedah Phillips is creative director of Afrofuturist Affair: a community formed to celebrate, strengthen, and promote Afrofuturistic and Sci-Fi concepts and culture. In her work with ‘Black Quantum Futurism’, Rasheedah derives facets, tenets, and qualities from quantum physics, futurist traditions, and Black/African cultural traditions to celebrate the ability of African-descended people to see “into,” choose, or create the impending future. In her talk today, Rasheedah will explore the history of linear time constructs, notions of the future, and alternative theories of temporal-spatial consciousness.      

On the Far Side of the Marchlands, Berlin (Feb 1st - March 26th)Exhibition opening Wednesday, February 1st (opening from 6pm) - March 26thErnst Schering Foundation> Facebook Event Page>

More info: additivism.org/marchlands

with works by Morehshin Allahyari, Cathrine Disney, Keeley Haftner, Brittany Ransom and Daniel Rourke

A ‘marchland’ is a medieval term for a space between two or more realms; a zone betwixt the control of states, in which alternate rules of law and conduct might apply. On the Far Side of the Marchlands explores the potential of radically new topographies – “intertwined histories and overlapping territories” – composed of hybrid realms of experience, culture and materiality.

On the Far Side of the Marchlands - an exhibition and collaboration between Morehshin Allahyari, Cathrine Disney, Keeley Haftner, Brittany Ransom, and Daniel Rourke - speaks to the contemporary desire for transformation. The exhibition features a zoo of hybrid figures: from stupid/intelligent insects to short-sighted/forward-thinking posthumans; from chimera materials that ooze, respire and transmute, to murky politics impossible to clarify as either positive or negative. On the Far Side of the Marchlands expands on the material and conceptual hybridity expressed in The 3D Additivist Cookbook: a compendium of provocative projects by over one hundred artists, activists, and theorists concerned with ‘Additivist’ practices. The exhibition and Cookbook invite visitors to look beyond boundaries, speaking to a growing need for radical forms of transformation.The 3D Additivist Cookbook, conceived and edited by Daniel Rourke & Morehshin Allahyari, is also presented in the exhibition alien matter (Haus der Kulturen der Welt, 2 February – 5 March 2017), curated by Inke Arns. On the Far Side of the Marchlands is a partner exhibition to the special exhibition alien matter, co-financed by Berlin LOTTO Foundation within the scope of ever elusive – thirty years of transmediale, supported by the British Council.

Additivism at Transmediale 2017Some details about #Additivism events coming up in Berlin as part of Transmediale Festival, 2017:On the Far Side of the Marchlands Wednesday, February 1st (opening from 6pm) - March 26thErnst Schering Foundation

with works by Morehshin Allahyari, Cathrine Disney, Keeley Haftner, Britt Ransom and Daniel Rourke

ever elusive - thirty years of transmedialeThursday, February 2nd (opening 7pm) - February 5thHouse of World Culturesalien matter (exhibition)

Thursday, February 2nd (opening 7pm) - March 3rd  House of World Culturesfeat. (#Additivism Cookbook) works by Joey Holder, Kuang-Yi Ku, Ami Drach and Dov Ganchrow3D Additivist Cookbook LaunchSaturday, February 4th, 6pmHouse of World Cultureswith Morehshin Allahyari, Miriam Rasch, Daniel Rourke, and invited Cookbook participantsSingularities (panel)Sunday, February 5th, 12pmHouse of World Cultureswith Morehshin Allahyari, Daniel Rourke, Dorothy Santos, Rasheedah Phillips, Luiza Prado & Pedro Oliveira (A Parede)Hope to see all your beautiful faces

The 3D Additivist Cookbook is out now…

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.

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.

From 26 - 28 February the first edition of Sonic Acts Academy took place in Amsterdam. For this three-day event artists, theorists, and scientists were invited to expand on their research through lectures, concerts, film programmes, work presentations, masterclasses and workshops. The 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 opening took place at Stedelijk Museum Amsterdam with performances by Thomas Ankersmit, Okkyung Lee, and others. The programme at de Brakke Grond featured lectures and presentations by Susan Schuppli, Louis Henderson, Heather Davis and others, and the performance and club night at Paradiso featured Lotic, M.E.S.H., Nkisi, and many others. sonicacts.com/2016Cast: Sonic ActsTags: Sonic Acts Academy

“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

Additivism selected for Vilém Flusser Residency Program for Artistic Research 2016

We are extremely excited to announce that our project #Additivism was accepted as recipient of the Vilém Flusser Residency Program for Artistic Research 2016. You can read the jury statement here:Morehshin Allahyari’s and Daniel Rourke’s project #Additivism sets in motion a critical approach towards 3d-printing as a technology which is all too often subsumed into the hype factor of “maker culture”. The project of additivism is a timely response to the (post-)anthropocene age where the originary agency of human creation is being called into question both by machinic automation and environmental crisis. As a bastard methodology located somewhere between accelerationism and subversion, it brings together art, design, and engineering in a radical mixture that aims at nothing less than writing the world anew. This approach that enables a concretion of the algorithmic abstraction of 3D printing resonates strongly with Vilém Flusser’s thinking on the technical image. [Read Full Statement]The residency program is a cooperation between the Vilém Flusser Archive at the Berlin University of Arts (UdK) and Transmediale, festival for art and digital culture Berlin.Morehshin Allahyari and Daniel Rourke will be in residence in Berlin through May and June of 2016 working closely on The 3D Additivist Cookbook and a related series of workshops and events.

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.   

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.

The 3D Additivist Manifesto is a finalist for Screengrab 7 International Media Arts Award (Dec 2015 - Feb 2016)We’re excited and honoured to be among finalists for #Screengrab7: International Media Arts Award, on the theme of #Resistance:Screengrab7 contains works that not only interrogate the status quo by resisting the doctrine of their inevitability but also demonstrate that these entrenched systems of control are themselves resistant to change. Resistance can be viewed as both a liberating force and an agent of destabilisation. Resistance can disrupt the flow of information, bend the circuitry, jam the signal and hack the network.The video is on show at Pinnacles Gallery, Townsville, Australia, through to February 28th 2016

studioforcreativeinquiry.org/events/lecture-workshop-what-is-additivism-critical-perspectives-on-3d-printing-with-morehshin-allahyari-daniel-rourke twitter.com/morehshin twitter.com/therourke via-2015.com/ The 3D Additivist Manifesto calls creators and thinkers to action around a technology filled with hope and promise: the 3D printer. By considering this technology as a potential force for good, bad, and otherwise, visiting artists Morehshin Allahyari and Daniel Rourke aim to disrupt binary thinking entirely, drawing together makers and thinkers invested in the idea of real, radical, change. In March 2015 Allahyari and Rourke invited submissions to an open-source ‘Cookbook’ of radical ideas that cut across the arts, engineering, and sciences. Inspired, in part, by William Powell’s The Anarchist Cookbook (1969), The 3D Additivist Cookbook will contain speculative texts, templates, recipes and (im)practical designs for living in this most contradictory of times. A talk and Q&A session by Morehshin Allahyari and Daniel Rourke about The 3D Additivist Manifesto + The 3D Additivist 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.Cast: STUDIO for Creative InquiryTags:

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

POSTmatter x fig-2 Live Collaborative Writing

We will be at TRANSFER Gallery, Brooklyn, on Thursday April 16th, 2015 - IN THE FLESH - to present The 3D Additivist Manifesto, including its 1080p World Premiere.

Invite yourself and ALL humans at our:Facebook Event Page

We hope you can attend!

Benoit Palop interviewed us for The Creators Project

It took over a year of intense reflection and exploration for San Francisco-based new-media artist and art activist Morehshin Allahyariand London-based writer and artist Daniel Rourke to create The 3D Additivist Manifesto, a research project that combines art, engineering, science fiction and digital media aesthetics into a call to arms to soar beyond the current limits of 3D printing. 

Here, the creative, “intelligent,” and evolutionary technology—for which the possibilities are still being explored—is probed in a 10-minute video essay that takes viewers deep into an uncanny journey of 3D-rendered landscapes and surreal objects, set to a soundtrack by Andrea Young.

It’s a dynamic call to artists, researchers, and other interested parties to reflect on the current state of additive manufacturing. The end goal is the “Additivist Cookbook,” a methodological collection that will bring together submitted ideas, thoughts, and designs for the future of 3D printing.

To learn more about “Additivism,” The Creators Project spoke with Allahyari and Rourke:

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.

Minute #1. Kevin Heckart Minute #2. Geraldine Juárez Minute #3. Gaby Cepeda Minute #4. Angela Washko Minute #5. Emilie Gervais Minute #6. LaTurbo Avedon Minute #7. Lyla Rye Minute #8. Mattie Hillock Minute #9. Antonio Roberts Minute #10. Georges Jacotey Minute #11. Daniel Rourke Minute #12. Sandra Rechico & Annie Onyi Cheung Minute #13. Yoshi Sodeoka Minute #14. Alma Alloro Minute #15. LoVid Minute #16. Andrea Crespo Minute #17. Ad Minoliti Minute #18. Arjun Ram Srivatsa Minute #19. Carrie Gates Minute #20. Isabella Streffen Minute #21. Esteban Ottaso Minute #22. Silke Zil Kuhar ZIL & ZOY Minute #23. Hyo Myoung Kim Minute #24. Jesse Darling Minute #25. Tristan Stevens Minute #26. Erica Lapadat-Janzen Minute #27. Claudia Hart Minute #28. Anthony AntonellisCast: Lorna MillsTags:

I am privileged to be involved in Ways of Something: an incredible collaboration between artist Lorna Mills and (currently) 85 artists. Episode 3 will have its World Premiere at The Photographer’s Gallery, London, on February 12th 2015. 85 web-based artists remake John Berger’s historic documentary ‘Ways of Seeing’ (1972) one minute at a time. Originally commissioned by The One Minutes, at Sandberg Instituut in Amsterdam and compiled by Lorna Mills, the episodes present a sequence of 3D renderings, filmic remixes, videos and webcam performances which subvert the tropes of art history in an entertaining and overwhelming way. Followed by a Q&A between Julia van Mourik, director of The One Minutes and Lorna Mills via Skype.

Artists in Episode 1 1: Daniel Temkin, 2: Rollin Leonard, 3: Sara Ludy, 4: Rhett Jones, 5: Jaakko Pallasvuo, 6: Dafna Ganani, 7: Jennifer Chan, 8: Rea McNamara, 9: Theodore Darst, 10: Matthew Williamson, 11: Hector Llanquin, 12: Christina Entcheva, 13: V5MT, 14: Marisa Olson, 15: Joe McKay, 16: Carla Gannis, 17: Nicholas O’Brien, 18: Eva Papamargariti, 19: Rosa Menkman, 20: Kristin Lucas, 21: Jeremy Bailey & Kristen D. Schaffer, 22: Giselle Zatonyl, 23: Paul Wong, 24: Alfredo Salazar-Caro, 25: Sally McKay, 26: RM Vaughan & Keith Cole, 27: Andrew Benson, 28: Christian Petersen, 29: Faith Holland, 30: Jennifer McMackon Artists in Episode 2 1: Kevin Heckart, 2: Geraldine Juarez, 3: Gaby Cepeda, 4: Angela Washko, 5: Emilie Gervais, 6: LaTurbo Avedon, 7: Lyla Rye, 8: Mattie Hillock, 9: Antonio Roberts, 10: Georges Jacotey, 11: Daniel Rourke, 12: Sandra Rechico & Annie Onyi Cheung, 13: Yoshi Sodeoka, 14: Alma Alloro, 15: LoVid, 16: Andrea Crespo, 17: Ad Minoliti, 18: Arjun Ram Srivatsa, 19: Carrie Gates, 20: Isabella Streffen, 21: Esteban Ottaso, 22: ZIL & ZOY, 23: Hyo Myoung Kim, 24: Jesse Darling, 25: Tristan Stevens, 26: Erica Lapadat-Janzen, 27: Claudia Hart, 28: Anthony Antonellis Artists in Episode 3 1: Carine Santi-Weil, 2: Nicolas Sassoon, 3: Tom Sherman, 4: Kim Asendorf and Ole Fach, 5: Rafaela Kino, 6: Alex McLeod, 7: Kate Wilson and Lynne Slater, 8: Aleksandra Domanović, 9: Systaime, 10: Erik Zepka, 11: Adam Ferriss, 12: Rodell Warner and Arnaldo James, 13: Debora Delmar, 14: Brenna Murphy, 15: Nick Briz, 16: Carlos Sáez, 17: Jenn E Norton, 18: Juliette Bonneviot, 19: Luis Nava, 20: Vince McKelvie; 21: Claudia Maté 22: Evan Roth, 23: Shana Moulton, 24: Sabrina Ratté, 25: Jordan Tannahill, 26: Vasily Zaitsev feat.MON3Y.us, 27: Ann Hirsch REVIEWS - Read an interview with Lorna Mills about Ways Of Something on The Creators Project. Read here. - Ben Davis wrote an essay looking at the first two episodes on artnet. Read here. - The project was also featured by Animal New York here.

Julia van Mourik is an independent curator and editor, based in Amsterdam. Since 1999, she has produced visual arts projects and has composed programmes and publications, exploring new possibilities for presenting the moving image. She is Director of The One Minutes, a place for artists to experiment, to produce and to present within the inexorable limit of 60 seconds, hosted by Sandberg Instituut, Masters of Art and Design in Amsterdam (NL). She is also director of the Lost & Found programme, where artists show material that doesn’t fit comfortably into regular gallery contexts, that seems out of place. And she is Adviser to the to the Dutch Cultural Media Fund, promoting the development and production of high-quality artistic programmes by the national public broadcasting corporations. Lorna Mills has actively exhibited her work internationally in both solo and group exhibitions since the early 1990’s. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film & video, and obsessive on-line animated GIFs incorporated into restrained off-line installation work. She has also co-curated monthly group animated GIF projections with Rea McNamara for the Sheroes performance series in Toronto, a group GIF projection event When Analog Was Periodical in Berlin co-curated with Anthony Antonellis, and a touring four person GIF installation, :::Zip The Bright:::, that originated at Trinity Square Video in Toronto. In June 2013, Mills opened a solo exhibition ‘The Axis of Something’ at TRANSFER, her work was exhibited by the gallery at the Moving Image Art Fair NYC in March 2014, and her second solo show for TRANSFER is currently in development for 2015.  Her most recent solo project was Ungentrified a large GIF projection installation at OCADU in Toronto for Nuit Blanche. £7 / £4 concs Episodes 1 and 2 are produced by The One Minutes at the Sandberg Instituut in Amsterdam. Episode 3 is produced by Lorna Mills.