MachineMachine /stream - tagged with press https://machinemachine.net/stream/feed en-us http://blogs.law.harvard.edu/tech/rss LifePress therourke@gmail.com <![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[Why women prefer erotic GIFs to steamy pornography videos - Sex Relationships]]> http://www.mid-day.com/articles/why-women-prefer-erotic-gifs-to-steamy-pornography-videos/18603178

In the midst of an animated chat on a WhatsApp group recently, a friend took us by surprise with the casual mention of porn GIFs. "Have you seen it?" she asked.

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Tue, 26 Sep 2017 05:27:21 -0700 http://www.mid-day.com/articles/why-women-prefer-erotic-gifs-to-steamy-pornography-videos/18603178
<![CDATA[Embracing plastic and the apocalypse: An interview with Morehshin Allahyari and Daniel Rourke]]> http://additivism.org/post/165545612559

Embracing plastic and the apocalypse: An interview with Morehshin Allahyari and Daniel Rourke

additivism is the bastard of these two visions. It conjures nightmares of toxic machines churning out guns, drugs, counterfeit cash and meaningless trash ad libitum. It also take its cue from additive manufacturing technology itself and suggests that small scale, cumulative actions have the potential to bring about bigger, more complex realities.

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Wed, 20 Sep 2017 06:26:23 -0700 http://additivism.org/post/165545612559
<![CDATA[Moreshin Allahyari: She Who Sees the Unknown, Ya’jooj Majooj]]> http://additivism.org/post/160888702891

Moreshin Allahyari: She Who Sees the Unknown, Ya’jooj Majooj An interview with the artist Moreshin Allahyari about her commission for The Photographers’ Gallery’s Media Wall - See Who Sees the Unknown, Ya'jooj Ma'jooj. Artwork © the artist, Video © The Photographers’ Gallery, 2017

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Sat, 20 May 2017 16:14:49 -0700 http://additivism.org/post/160888702891
<![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[Dark Matters: Hannah Gregory interviews Morehshin...]]> http://additivism.org/post/156087561093

Dark Matters: Hannah Gregory interviews Morehshin Allahyari Morehshin Allahyari left Iran in 2007 to pursue a critical artistic practice, choosing, in her words, ‘self-exile over self-censorship’. Her work holds technology as 'a philosophical toolset’ and 3D printing as a potential 'process for repairing history and memory’, levelling equal criticisms at both the oppression of religious dictatorship and the white-privileging worldviews of the technology and art industries.Dark Matter (2012­–14) was her first experiment with additive tech as political medium, in which Allahyari turned taboos of Iranian daily life – dogs, pigs, satellite dishes, and dildos – into absurdist 3D-printed amalgams. The widely acclaimed Material Speculation: ISIS series (2015–16) pieced together the histories of artefacts destroyed by the Islamic State in the ancient cities of Hatra and Nineveh, through in-depth research and correspondence with archaeologists, historians, and museum staff.The reconstructed replicas, printed in translucent resin, were embedded with a USB drive and flash card containing this gathered imagery and information ­– an act of memory preservation testament to the persistence of the digital copy. This interview discusses the foundations of Allahyari’s practice through an introduction to her new research project, which is rooted in refiguring Middle Eastern mythologies, and begins with the exhibition and video She Who Sees the Unknown, which Allahyari recently presented at New York’s Transfer Gallery.

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Thu, 19 Jan 2017 10:08:55 -0800 http://additivism.org/post/156087561093
<![CDATA[On Material Entanglements: an Interview with Morehshin Allahyari]]> http://additivism.org/post/154581978099

On Material Entanglements: an Interview with Morehshin Allahyari Although we both live in the bay area, I got to Morehshin Allahyari’s work through an internet rabbit hole. Some months ago I picked up ‘Cyclonopedia’ by Reza Negarestani and got pretty engrossed by the book’s mix of fact and fiction. The story suggests that petrol functions as a lubricant necessary to spread an ancient evil throughout the world eventually leading into what he calls a desertification of the earth. a place where all will be flattened and ready for some sort of re-boot.

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Sat, 17 Dec 2016 00:52:10 -0800 http://additivism.org/post/154581978099
<![CDATA[The thin line between theory and practice: a conversation on...]]> http://additivism.org/post/143114516563

The thin line between theory and practice: a conversation on Sonic Acts Academy 2016From February 26th to the 28th, in Amsterdam, took place the Sonic Acts Academy, a three-day festival happening in Stedelijk Museum, De Brakke Grond and Paradiso.

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Wed, 20 Apr 2016 07:43:13 -0700 http://additivism.org/post/143114516563
<![CDATA[More than Human: From the Politics of Plastics to Shifting our Species Into the Unknown | ART21 Magazine]]> http://blog.art21.org/2016/04/15/more-than-human-from-the-politics-of-plastics-to-shifting-our-species-into-the-unknown/

The things we create define us, as a culture and as a species. Yet, so often, as we hurtle into the future, our creations seem to take on a life of their own.

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Wed, 20 Apr 2016 06:13:55 -0700 http://blog.art21.org/2016/04/15/more-than-human-from-the-politics-of-plastics-to-shifting-our-species-into-the-unknown/
<![CDATA[What’s the Value of Recreating the Palmyra Arch with Digital...]]> http://additivism.org/post/143110811665

What’s the Value of Recreating the Palmyra Arch with Digital Technology?Seven months after ISIS destroyed Palmyra’s 1,800-year-old Arch of Triumph, the structure has risen once more — but this time 2,800 miles away from the ancient city, in London’s bustling Trafalgar Square.

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Wed, 20 Apr 2016 05:51:49 -0700 http://additivism.org/post/143110811665
<![CDATA[More than Human: From the Politics of Plastics to Shifting our Species Into the Unknown]]> http://additivism.org/post/142902639356

More than Human: From the Politics of Plastics to Shifting our Species Into the UnknownWilla Köerner edited an issue of ART21 Magazine on the subject of Renewal. She interviewed us about #Additivism, asking the right kind of questions about what comes next:The things we create define us, as a culture and as a species. Yet, so often, as we hurtle into the future, our creations seem to take on a life of their own. For just over a year, the artist Morehshin Allahyari has partnered with the writer Daniel Rourke on a project that grapples with this conundrum in such a mind-expanding way that, after speaking with the pair about their work, my brain was reeling. This is a story of two people who, while working to explore the nuances and politics of a new creative medium, have found themselves entangled with a philosophical conundrum: What does it mean to be more than human?↪ Read the entire article here

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Sat, 16 Apr 2016 09:36:02 -0700 http://additivism.org/post/142902639356
<![CDATA[Accelerationist Art]]> http://additivism.org/post/142786794281

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.

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Thu, 14 Apr 2016 03:44:14 -0700 http://additivism.org/post/142786794281
<![CDATA[Hyperallergic Interview: “Your Shiny Plastic Future Is a Load of Crap”]]> http://hyperallergic.com/275471/your-shiny-plastic-future-is-a-load-of-crap-morehshin-allahyari-and-daniel-rourkes-additivism

“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

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Mon, 15 Feb 2016 08:23:00 -0800 http://hyperallergic.com/275471/your-shiny-plastic-future-is-a-load-of-crap-morehshin-allahyari-and-daniel-rourkes-additivism
<![CDATA[#Additivism selected for Vilém Flusser Residency Program for Artistic Research 2016]]> http://additivism.org/post/138290881251

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.

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Fri, 29 Jan 2016 10:37:00 -0800 http://additivism.org/post/138290881251
<![CDATA[Il ritorno del futuro]]> http://additivism.org/post/130601762761

Il ritorno del futuro A long piece - in Italian - about the current state of the future. With reflections on #Additivism, #Xenofeminism, #Chthulucene, #PostInternet:

In true spirit of Marinetti, additivism chasing an ideal post-human to the edge of pornography; technological fetishism in their case is a decidedly erotic fetishism, that blessed wallows in a sea of perversions and uninhibited excitement for the deformed: “There is nothing more desirable for mankind do more often fertile union between a man and an Analytical Engine. Our technologies are the sexual organs of speculation material. Any attempt to understand events is rendered impossible by our anthropomorphism.

If the Xenofeminism pursues a "futro alien”, the 3D Additivist Manifesto calls for “a gradual awakening of matter; the emergence, finally, of a new form of life. ” Therefore it proposes to “forge anarchy, rebellion and disorder,” and to create “clutter from his digital magazine”. The great metaphor to the root of the project additivism, is the 3D printer, it becomes a tool to “condense imagery into material reality”: not so much a machine of desires, as a machine for the desire.

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Mon, 05 Oct 2015 22:40:00 -0700 http://additivism.org/post/130601762761
<![CDATA[To Print a New Humanity]]> http://additivism.org/post/130404583226

In creating a thing, there is implicit a dream of making it appear spontaneously.

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Sat, 03 Oct 2015 07:54:00 -0700 http://additivism.org/post/130404583226
<![CDATA[Nichons — nous dans l'Internet — Revue semestrielle]]> http://nichonsnousdanslinternet.fr/numero4.html

Nichons-nous dans l'Internet est une revue en papier intégralement consacrée à Internet. Au sommaire du quatrième numéro : 9gag, le Bon Coin, les Youtubeuses, Google Maps et Kenneth Goldsmith.

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Tue, 22 Sep 2015 18:50:21 -0700 http://nichonsnousdanslinternet.fr/numero4.html