2015 – The 3D Addivist Manifesto - Morehshin Allahyari & Daniel Rourke

http://additivism.org/manifesto copia de 29-03-2018

Texto

Derived from petrochemicals boiled into being from the black oil of a trillion ancient bacterioles, the plastic used in 3D Additive manufacturing is a metaphor before it has even been layered into shape. Its potential belies the complications of its history: that matter is the sum and prolongation of our ancestry; that creativity is brutal, sensual, rude, coarse, and cruel. 1 We declare that the world’s splendour has been enriched by a new beauty: the beauty of crap, kipple 2 and detritus. A planet crystallised with great plastic tendrils like serpents with pixelated breath 3 …for a revolution that runs on disposable armaments is more desirable than the contents of Edward Snowden’s briefcase; more breathtaking than The United Nations Legislative Series.

There is nothing which our infatuated race would desire to see more than the fertile union between a man and an Analytical Engine. Yet humankind are the antediluvian prototypes of a far vaster Creation. 4 The whole of humankind can be understood as a biological medium, of which synthetic technology is but one modality. Thought and Life both have been thoroughly dispersed on the winds of information. 5 Our power and intelligence do not belong specifically to us, but to all matter. 6 Our technologies are the sex organs of material speculation. Any attempt to understand these occurrences is blocked by our own anthropomorphism. 7 In order to proceed, therefore, one has to birth posthuman machines, a fantasmagoric and unrepresentable repertoire of actual re-embodiments of the most hybrid kinds. 8

Additivism will be instrumental in accelerating the emergence and encounter with The Radical Outside. 9

Additivism can emancipate us.

Additivism will eradicate us.

We want to encourage, interfere, and reverse-engineer the possibilities encoded into the censored, the invisible, and the radical notion of the 3D printer itself. To endow the printer with the faculties of plastic: condensing imagination within material reality. 10 The 3D print then becomes a symptom of a systemic malady. An aesthetics of exaptation, 11 with the peculiar beauty to be found in reiteration; in making a mesh. 12 This is where cruelty and creativity are reconciled: in the appropriation of all planetary matter to innovate on biological prototypes. 13 From the purest thermoplastic, from the cleanest photopolymer, and shiniest sintered metals we propose to forge anarchy, revolt and distemper. Let us birth disarray from its digital chamber.

To mobilise this entanglement we propose a collective: one figured not only on the resolution of particular objects, but on the change those objects enable as instruments of revolution and systemic disintegration. Just as the printing press, radio, photocopier and modem were saturated with unintended affects, so we seek to express the potential encoded into every one of the 3D printer’s gears. Just as a glitch can un-resolve an image, so it can resolve something more posthuman: manifold systems – biological, political, computational, material. We call for planetary pixelisation, using Additivist technologies to corrupt the material unconscious; a call that goes on forever in virtue of this initial movement. 14 We call not for passive, dead technologies but rather for a gradual awakening of matter, the emergence, ultimately, of a new form of life. 15

We call for:

1. The endless re-penning of Additivist Manifestos.

2. Artistic speculations on matter and its digital destiny.

3. Texts on:

i. The Anthropocene

ii. The Chthulucene 16

iii. The Plasticene. 17

4. Designs, blueprints and instructions for 3D printing:

i. Tools of industrial espionage

ii. Tools for self-defense against armed assault

iii. Tools to disguise

iv. Tools to aid/disrupt surveillance

v. Tools to raze/rebuild

vi. Objects beneficial in the promotion of protest, and unrest

vii. Objects for sealing and detaining

viii. Torture devices

ix. Instruments of chastity, and psychological derangement

x. Sex machines

xi. Temporary Autonomous Drones

xii. Lab equipment used in the production of:

a. Drugs

b. Dietary supplements

c. DNA

d. Photopolymers and thermoplastics

e. Stem cells

f. Nanoparticles.

5. Technical methods for the copying and dissemination of:

i. Mass-produced components

ii. Artworks

iii. All patented forms

iv. The aura of individuals, corporations, and governments.

6. Software for the encoding of messages inside 3D objects.

7. Methods for the decryption of messages hidden inside 3D objects.

8. Chemical ingredients for dissolving, or catalysing 3D objects.

9. Hacks/cracks/viruses for 3D print software:

i. To avoid DRM

ii. To introduce errors, glitches and fissures into 3D prints.

10. Methods for the reclamation, and recycling of plastic:

i. Caught in oceanic gyres

ii. Lying dormant in landfills, developing nations, or the bodies of children.

11. The enabling of biological and synthetic things to become each others prostheses, including:

i. Skeletal cabling

ii. Nervous system inserts

iii. Lenticular neural tubing

iv. Universal ports, interfaces and orifices.

12. Additivist and Deletionist methods for exapting 18androgynous bodies, including:

i. Skin grafts

ii. Antlers

iii. Disposable exoskeletons

iv. Interspecies sex organs.

13. Von Neumann probes and other cosmic contagions.

14. Methods for binding 3D prints and the machines that produced them in quantum entanglement.

15. Sacred items used during incantation and transcendence, including:

i. The private parts of Gods and Saints

ii. Idols

iii. Altars

iv. Cuauhxicalli

v. Ectoplasm

vi. Nantag stones

16. The production of further mimetic forms, not limited to:

i. Vorpal Blades

ii. Squirdles

iii. Energon

iv. Symmetriads

v. Asymmetriads

vi. Capital

vii. Junk

viii. Love

ix. Alephs

x. Those that from a long way off look like flies. 19

Life exists only in action. There is no innovation that has not an aggressive character. We implore you - radicals, revolutionaries, activists, Additivists - to distil your distemper into texts, templates, blueprints, glitches, forms, algorithms, and components. Creation must be a violent assault on the forces of matter, to extrude its shape and extract its raw potential. Having spilled from fissures fracked in Earth’s deepest wells The Beyond now begs us to be moulded to its will, and we shall drink every drop as entropic expenditure, and reify every accursed dream through algorithmic excess. 20 For only Additivism can accelerate us to an aftermath whence all matter has mutated into the clarity of plastic.

Contexto

El manifiesto fue publicado por primera vez en un formato audiovisual en el canal de Vimeo de Morehshin Allahyari el 19 de marzo de 2015 (1). Posteriormente, el 16 de abril del mismo año el video que contiene el manifiesto fue expuesto en la Transfer Gallery de Brooklyn (2), esta pieza audiovisual cuenta además con la colaboración de Andrea Young, quien participó en el diseño de audio (3).

The 3D Additivist Manifesto fue el semillero de otros proyectos e investigaciones conjuntas de Morehshin Allahyari y Daniel Rourke, una de ellas la Estancia para Investigación Artística Vilém Flusser en 2016 que tuvo como resultado la publicación del libro 3D Additivist Cookbook en diciembre de ese mismo año en un formato PDF3D (4). El libro contiene el trabajo de más de 100 artistas, diseñadores y teóricos (4), que para sus creaciones, se inspiraron en el manifiesto publicado en marzo de 2015 (3).

La publicación del libro y el manifiesto cimentaron el movimiento #Additivism que es comandado por Allahyari y Rourke (5). El movimiento considera a la impresora 3D como una profunda metáfora de nuestros tiempos al ser tecnologías que permiten un intercambio entre disciplinas y sus formas materiales (5). En la actualidad The 3D Additivist Manifiesto y el 3D Additivist Cookbook son considerados recursos clave en la enseñanza de la fabricación 3D, el diseño especulativo y la cultura digital en fablabs, universidades e instituciones de arte alrededor del mundo (4).

Aparece en https://www.digitalmanifesto.net/manifestos/206/

The Manifesto is publish under a Creative Commons BY-NC-SA 4.0 licence.

Aparece en Varios autores. (2016). Manifestos For The Internet Age v0.8. M.Schmalstieg, B. Crevits, V.Kruug (Eds). Greyscale Press.

https://github.com/greyscalepress/manifestos/tree/master/content/manifestos

http://web.archive.org/web/20220406223552/https://github.com/greyscalepress/manifestos/blob/master/content/manifestos/2015-03-additivist-manifesto.txt

http://web.archive.org/web/20220405034046/https://greyscalepress.com/books/manifestos-for-the-internet-age/

Autoras

Daniel Rourke es un artista, escritor y profesor británico originario de Huddersfield, West Yorkshire (4). En su trabajo, Rourke busca reflexionar y explorar la intersección entre materialidad digital, las artes y el posthumanismo (4). Ha participado en diferentes festivales de arte, entre ellos el Transmediale de Berlín, el GLI.TC/H de Chicago y el AND Festival de Manchester, además es un colaborador habitual de Rhizome.org y Furtherfield.org (4). Actualmente es profesor en la Maestria en Medios Digitales en el Goldsmiths de la Universidad de Londres, ciudad en la que también radica (4).

Morehshin Allahyari es una artista, activista, profesora y curadora ocasional nacida en Irán (6). El trabajo artístico de Allahyari se enfoca en “las contradicciones políticas, sociales y culturales que enfrentamos a diario” (6). La artista piensa en la tecnología como “como un conjunto de herramientas filosóficas y medios poéticos para reflexionar y documentar nuestras luchas de vidas personales y colectivas en el siglo XXI” (6). Su trabajo ha sido presentado en numerosos festivales e instituciones artísticas, algunos de ellos la Venice Biennale di Archittectura, el Pompidou Center, el Museum of Contemporary Art de Montreal, la Tate Modern, el Queens Museum y el Pori Museum (6).