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:
The endless repenning of Additivist Manifestos.

Artistic speculations on matter and its digital destiny.

Texts on:
The Anthropocene

The Cthulhucene 16

The Plasticene. 17

Designs, blueprints and instructions for 3D printing:
Tools of industrial espionage

Tools for self-defense against armed assault

Tools to disguise

Tools to aid/disrupt surveillance

Tools to raze/rebuild

Objects beneficial in the promotion of protest, and unrest

Objects for sealing and detaining

Torture devices

Instruments of chastity, and psychological derangement

Sex machines

Temporary Autonomous Drones

Lab equipment used in the production of:

Dietary supplements


Photopolymers and thermoplastics

Stem cells


Technical methods for the copying and dissemination of:
Mass-produced components


All patented forms

The aura of individuals, corporations, and governments.

Software for the encoding of messages inside 3D objects.

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

Chemical ingredients for dissolving, or catalysing 3D objects.

Hacks/cracks/viruses for 3D print software:
To avoid DRM

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

Methods for the reclamation, and recycling of plastic:
Caught in oceanic gyres

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

The enabling of biological and synthetic things to become each others prostheses, including:
Skeletal cabling

Nervous system inserts

Lenticular neural tubing

Universal ports, interfaces and orifices.

Additivist and Deletionist methods for exapting 18 androgynous bodies, including:
Skin grafts


Disposable exoskeletons

Interspecies sex organs.

Von Neumann probes and other cosmic contagions.

Methods for binding 3D prints and the machines that produced them in quantum entanglement.
Sacred items used during incantation and transcendence, including:
The private parts of Gods and Saints





Nantag stones

The production of further mimetic forms, not limited to:
Vorpal Blades









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.

Bibliography / Reading List
1 William Powell, The Anarchist Cookbook
2 Philip K. Dick, Pay for the Printer / Do Androids Dream of Electric Sheep?
3 F.T. Marinetti, The Manifesto of Futurism
4 Samuel Butler, Darwin Among the Machines
5 Evelyn Fox-Keller, Refiguring Life
6 John Gray, Straw Dogs
7 Stanislaw Lem, Solaris
8 Rosi Braidotti, Patterns of Dissonance: A Study of Women and Contemporary Philosophy
9 Reza Negarestani, Cyclonopedia: Complicity with Anonymous Materials
10 Donna Haraway, A Cyborg Manifesto
11 Stephen Jay Gould & Elisabeth S. Vrba, Exaptation: A Missing Term in the Science of Form
12 Susan Sontag, The Imagination of Disaster
13 Benjamin Bratton, Some Trace Effects of the Post- Anthropocene: On Accelerationist Geopolitical Aesthetics
14 Henri Bergson, Creative Evolution
15 Anna Greenspan & Suzanne Livingston, Future Mutation: Technology, Shanzai and the Evolution of Species
16 Donna Haraway, Anthropocene, Capitalocene, Chthulucene: Staying with the Trouble
17 Christina Reed, Dawn of the Plasticene Age
18 Svetlana Boym, The Off-Modern Mirror
19 Jorge Luis Borges, The Celestial Emporium of Benevolent Knowledge &
Michel Foucault, The Order of Things
20 Georges Bataille, The Accursed Share



"The 3D Additivist Manifesto" is an accelerationist call to arms, valorizing subversive practices of making in and across a diversity of anthropomorphized milieus. Citing disciplines and practices as varied as anarchist environmental anthropology, 3D printing, hacking, and body modification as possible modes of resistance, additivism proposes to move human beings to "to an aftermath whence all matter has mutated into the clarity of plastic." You can view the 3D Additivist Manifesto video here: https://vimeo.com/122642166


The 3D Additivist Manifesto was created by Morehshin Allahyari and Daniel Rourke, with sound design from Andrea Young.




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





Digital Aesthetics


Critical Making


3D Additivism, Making