Newly-released oil industry documents push back the start date of the world’s most successful disinformation campaign to the 1960s, if not earlier.

People think that they sell oil, but in fact they are becoming oil. —Victor Pelevin

Just after World War II, when the atomic bombs fell and our thirst for coal and oil became a full-blown addiction, Earth entered the Anthropocene, a new geologic time when humanity’s environmental reach left a mark in sediments worldwide.

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.

In the 21st century, we are inundated with news about human-induced climate change. But perhaps human-produced media are not the only source of information.

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

The race for renewable energy has passed a turning point. The world is now adding more capacity for renewable power each year than coal, natural gas, and oil combined. And there's no going back.

This stunning essay, written by Alexis Anais and Anna Khachiyan, accompanies Morehshin Allahyari’s Material Speculation exhibition, at Trinity Square Video, Toronto: As ISIS has shown, the potential futures that digital technology promises to provoke almost always teeter on the ethically ambiguous—trapped in a crossfire of discourses that vary depending on who’s doing the talking…Allahyari’s work refuses to accept this hypocrisy, which seem to ignore the many number of intimidations put forth by the West. She recognizes that what has traditionally been considered public history is often made vulnerable, subject to possession by organized violence and radical politicking, in which both sides are equally implicated…The concept of 3D printing as symbolic of corporeality and mortality is defined in the Manifesto as “infatuation,” following the idea that the human body desires a cyborgian evolution. ↪ Read the full essay here

 The oil major Shell has a blisteringly slick and seductive new advert that extols the virtues of gas as a ‘transition fuel’ (which it isn’t).  As a piece of propaganda, it would make Donna Haraway guffaw with delight.

The world’s oil resources are unlikely to ever be fully exploited, BP has admitted, due to international concern about climate change.

A hulking rig is engulfed in flame. It’s sinking, spitting out a giant plume of smoke in the process. A firing squad of rescue ships are dousing it with ocean spray. Eleven men are already dead.

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.

I was commissioned to write the essay for Mishka Henner‘s solo show, Black Diamond, at Carroll/Fletcher Gallery, London. The exhibition will run until 31st May, 2014. Excerpt from the essay : If linear perspective centred the World on the Earthly beholder – rendering the artist, viewer or owner of a painting as master of all they purveyed – then its replacement, a tumbling or “dynamic viewing space” imposes a kind of vertigo on the subject, causing us to misjudge the social and political ground of our perceptions. Henner’s 51 US Military Outposts places viewers in the position of Gods above a toy-like World, the fidelity of which is wholly reliant on the resolution of the sourced images. In line with his Feedlots and Oil Fields series, the resolution of the images – appropriated from Google Earth, and painstakingly stitched together – gives us a clue as to where their socio-political ground is located. Just as a pixel attains significance only within the context of the image grid, so the relatively plain surface of Earth is politically meaningless, is without form and void, until its geometries and textures, its biological traces and material densities, are caught and defined in the vast, inconceivable, territories of the database. Download as PDF More info : mishkahenner.com and carrollfletcher.com

thomforsyth:

BIRD RIB Paintings | Maurizio Bongiovanni My work “Bird Rib” questions the effect that the “digitalization” is taking in the panorama view, re-marking the boundaries of the relationship between nature and technological progress. The world I created is crossed by a paradoxical form of mixing between the natural and technological artifice, and oscillates between a descriptive real and abstract imagines.

The best way to think about the remaining tribes in 2011 is to imagine a series of concentric circles, all of which interact on each boundary. There are the tribes that stay on their own homelands in the forest (or seek to do so), but who have regular relations with the outside. These retain a strong tribal identity, but they are coming to know the world all too well; they will travel to fight legal battles for their territories and their children will leave for the cities. Then there are a good number of tribes (or parts of tribes) who have been contacted, but who have very circumscribed dealings with the outside world; while no longer in isolation, these live (or try to live) as they always lived. Then, in the heart of the forest, there are these few remaining uncontacted peoples. They may have heard rumours from their grandparents, but they are among the handful of peoples left alive on the planet who have next to no idea of what the world has become.