In March 2015 Allahyari and Rourke released The 3D Additivist Manifesto, a call to push creative technologies to their absolute limits and beyond into the realm of the speculative, the provocative and the weird. The 3D Additivist Cookbook is composed of responses to that call, an extensive catalog of digital forms, material actions, and post-humanist methodologies and impressions.
#Additivism is a portmanteau of additive and activism: a movement concerned with critiquing ‘radical’ new technologies in fablabs, workshops, and classrooms; at social, ecological, and global scales. The 3D Additivist Cookbook questions whether it’s possible to change the world without also changing ourselves, and what the implications are of taking a position.This archive contains 3D models and textures from The 3D Additivist Cookbook in .stl and .obj format in addition to a 3D-PDF of the Cookbook published in February 2017 by Morehshin Allahyari and Daniel Rourke.The 3D Additivist Cookbook is a compendium of strategies that aim to turn 3D printing into a tool for emancipation, activism and disruption. It brings together speculative texts, 3D models, prototypes, recipes and practical suggestions.For further information see: http://additivism.org/cookbookhttp://networkcultures.org/blog/publication/the-3d-additivist-cookbook/
By the end of the 18th century a sense of anxiety and crisis began to preoccupy European writers and artists in theor relationship to the past, from antiquity on, which constituted the European intellectual tradition. The grandness of that past could no longer fit into the frame of the present. Artists felt overwhelmed by the magnitude of past heroic accomplishment, its domineering influence, even of their own past accomplishment. Beginning with artists such as Fuseli, this was soon reflected in artistic representation. The partial image, the “crop”, fragmentation, the ruin and mutilation – all expressed nostalgia and grief for the loss of a vanished and unreclaimed totality, a utopian wholeness. Often, as a form of compensation, such feelings were expressed in deliberate destructiveness and this became the new way of seeing: the notion of the modern. The “crop” constituted a distinctively modern view of the world, the essence of modernity itself. This work, which is taken from the Walter Neurath Memorial Lecture, traces these developments as they have been expressed in representations of the human figure fragmented, mutilated and fetishized, by looking at work produced by artists from Neo-classicism to Romanticism and modern art, from Fuseli to the Impressionists, the Post-Impressionists, and beyond.
“A modo general se agrupa bajo el término Bioarte la relación teórico-práctica entre prácticas artísticas contemporáneas y técnicas emergentes en biotecnología(s). En función a esta relación generalizada, podemos describir el Bioarte como un apelativo que engloba aquellas practicas artísticas que utilizan la biotecnología(s) como medio, ahora bien, como cualquier definición genérica, ésta es una definición inconclusa. La definición de Bioarte es una cuestión problemática, en parte debido a su juventud en tanto que práctica artística. No hay un acuerdo sobre qué englobar dentro de Bioarte, ni sobre el uso del término, ya que también se hace referencia a Bioarte como Transgenic Art , Genetic Art , Life Art o Biotech Art …”