image copyrightClaire Simonin‎ / Ar ViltansouA French coastal community has finally cracked the mystery behind the Garfield telephones that have plagued its picturesque beaches for decades.

Fatbergs, the congealed mass of fat and discarded items that are increasingly blocking Britain’s sewers, are the consequence of the plastic crisis in Britain and contain potentially deadly antibiotic-resistant bacteria, tests show.

In 1965, American sculptor Claes Oldenburg proposed an object of quite unforgettable brute simplicity for New York City. Oldenburg may be best known today for his cuddly "soft sculptures" and monumental pop-art reproductions of everyday objects, but this was neither cuddly nor pop.

The future as shown to us by science fictions is almost always shiny. Whether in aspirational daydreams or depictions of dystopia, the vision continues to be one of gleaming metal, stark white interiors, and of course many more robots.

We can now quantify how much humans have changed the surface of the planet.

Giant collection of fishing nets, plastic containers and other discarded items called a ‘ticking time bomb’ as large items crumble into micro plastics 13.02 EDT Last modified on Tuesday 4 October 2016 13.

In early August 1997, Charles Moore found himself floating through the North Pacific in his Tasmanian-built catamaran.

It’s important to photograph the hermit crabs in their natural habitat.  I prefer to photograph them using a wide angle lens to achieve a unique perspective. Hermit crab in a glass bottle- Yomitan, Okinawa.

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

The Mariana Trench is the deepest spot in the ocean—and it’s home to some strange sights, sounds, and creatures. But there’s one thing down there that’s very familiar: a whole bunch of garbage.

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

The decisive violence imposed on life by the capitalist mode of production derives from its quest for radical simplification.

On the second floor of a nondescript warehouse owned by New York City's Sanitation Department in East Harlem is a treasure trove—filled with other people's trash. Most of the building is used as a depot for garbage trucks, but there's a secret museum that takes over an entire floor.

According to a new study, humankind is now entering the “Age of Plastic”. The research investigates the evidence that we are living in the Anthropocene, a time in which humanity is the main geological force.

Future archeologists aren’t just going to be digging up old bones: Looks like they’re also going to be sifting though old fossilized plastics. For years, scientists have questioned whether or not we’ve entered a new geological timeframe directly impacted by human activity.

In the Southern Ocean, surrounding Antarctica, blue whales were nearly wiped out by industrial whaling from the 1920s to 1940s. But now, with whaling curtailed, the whales are surging back: their population growing by 7.3 percent per year.