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Exhibit ion Opening 11th July 2014 – 19.0015.07.2014 Exhibit ion 01.08.2014

SYNTHE T ISCHVERNÜNF T IG

Paolo C i r i o / And reas N. F i sche r / Dan i e l F ranke /C l aud i a Ha r t / Im r i Kahn / Sa ra Ludy / C l ement Va l l a

cu ra ted byDan i e l F r a n ke + John McK i e r nan

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by Sandra Moskova

post-modernismphenomenology, „cutting out“ the world through language

gas at room temperature gas at room

temperature

The world exists beyond our percetption

1991/3

collectives

Bruno Latour

2003

natureculturesDonna Haraway

1990s

neo/new materialism

MANUEL DELANDA

new materialism vs. old materialismGilles Deleuze Hegel

materialism - a progressive philosphy

needs to be explained scientifically

temporality of theory formation

1960s

genetic algorithmvirtual evolutionized processes

computer art utilizes one more way of

breeding

new components?

utilization by artists is the only thing new

Matter and energy are inert

choreography

procedurality

algorithm used as process

programs genes

Synthetisch VernünftigDaniel Franke

vs.

matter is active genes tease out form out of matter which has its own morphogenetic potential

idealism - conservative

philosophy as synthesis

topological thinking (Mathematics)

population thinking (Mendel; Darwin)

intensive thinking (Termodynamics)

Evolution needs a large reproductive community: genetic algorithms blindly searching a space of possibilitiesa positive idea of heterogenetics past Darwinism

extensive vs. intensive properties

e.g. length e.g. pressure, speed, temperature, density ...

can cannot be devided

define final products

drive processesintensive differences give birth to form

intensive differences are characterize by

critical points

of intensity at which matter spontaneously changes matter or form

water starts boling

stone starts melting

DNA depends on an intensive world

PROCESS

SPACE

EVOLUTION

Differential geometry: the speed at which something is changing; measuring the rate of change

Differential calculus: leaving coordinates

How fast the surface is changing; the surface becomes a space of rapidities and slownessnes

n-dimensionality

Is a certain state the most probable of all?

Synthetisch VernünftigAndreas N. Fischer

The sharpness of a knife

properties vs. capacities

To cut vs. to be cutemerges from interaction between component parts (steel atoms, molecules)

actual event (with probability)

ontological relation

symmetry

EMERGENCE novel properties and capacities emerge from a casual interaction

Rosi Braidotti

emergency collides with laws

water

HO2

liquid

SIMULATIONSPECULATION

Does the knife still cut when it interacts with entities, which do not have the capacity to be cut? (cut a stone?)

hyperreality Jean Baudrillard

PHILOSOPHY

SYNTHETIC REASON

Emmanuel KantKritik der reinen Synthetische UrteileVernunft

"Wenn ich sage: 'Alle Körper sind schwer’, so ist das Prädikat ['schwer'] etwas ganz anderes, als das, was ich in dem bloßen Begriff eines Körpers überhaupt denke. Die Hinzufügung eines solchen Prädikats [er]gibt also ein synthetisch[es] Urteil" (Kap. 6.)

Synthetic reasons are not purely theoretical, that is to say they are not simply hypotheses that can easily be accused of being mysterious entities such as ‘life force’ and ‘élan vital’, as with the previous generation philosophers of emergence

REALITY brought forth by simulation

attractors of processes represent tendencies

strange attractorschaos theory

Synthetisch VernünftigPaolo Cirio

Synthetisch VernünftigImri Khan

Speculative Folds on Synthetic Reason

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Literatur:DeLanda, Manuel (2013): Philosophy and Simulation. The Emergence of Synthetic Reason

DeLanda, Manuel (2009): Deleuze and the Use of the Genetic Algorithm in Architecture, Columbia UniversityYuYuk Hui (2011): The plane of Obscurity - Simulation and Philoyophy

post-modernismphenomenology, „cutting out“ the world through language

gas at room temperature gas at room

temperature

The world exists beyond our percetption

1991/3

collectives

Bruno Latour

2003

natureculturesDonna Haraway

1990s

neo/new materialism

MANUEL DELANDA

new materialism vs. old materialismGilles Deleuze Hegel

materialism - a progressive philosphy

needs to be explained scientifically

temporality of theory formation

1960s

genetic algorithmvirtual evolutionized processes

computer art utilizes one more way of

breeding

new components?

utilization by artists is the only thing new

Matter and energy are inert

choreography

procedurality

algorithm used as process

programs genes

Synthetisch VernünftigDaniel Franke

vs.

matter is active genes tease out form out of matter which has its own morphogenetic potential

idealism - conservative

philosophy as synthesis

topological thinking (Mathematics)

population thinking (Mendel; Darwin)

intensive thinking (Termodynamics)

Evolution needs a large reproductive community: genetic algorithms blindly searching a space of possibilitiesa positive idea of heterogenetics past Darwinism

extensive vs. intensive properties

e.g. length e.g. pressure, speed, temperature, density ...

can cannot be devided

define final products

drive processesintensive differences give birth to form

intensive differences are characterize by

critical points

of intensity at which matter spontaneously changes matter or form

water starts boling

stone starts melting

DNA depends on an intensive world

PROCESS

SPACE

EVOLUTION

Differential geometry: the speed at which something is changing; measuring the rate of change

Differential calculus: leaving coordinates

How fast the surface is changing; the surface becomes a space of rapidities and slownessnes

n-dimensionality

Is a certain state the most probable of all?

Synthetisch VernünftigAndreas N. Fischer

The sharpness of a knife

properties vs. capacities

To cut vs. to be cutemerges from interaction between component parts (steel atoms, molecules)

actual event (with probability)

ontological relation

symmetry

EMERGENCE novel properties and capacities emerge from a casual interaction

Rosi Braidotti

emergency collides with laws

water

HO2

liquid

SIMULATIONSPECULATION

Does the knife still cut when it interacts with entities, which do not have the capacity to be cut? (cut a stone?)

hyperreality Jean Baudrillard

PHILOSOPHY

SYNTHETIC REASON

Emmanuel KantKritik der reinen Synthetische UrteileVernunft

"Wenn ich sage: 'Alle Körper sind schwer’, so ist das Prädikat ['schwer'] etwas ganz anderes, als das, was ich in dem bloßen Begriff eines Körpers überhaupt denke. Die Hinzufügung eines solchen Prädikats [er]gibt also ein synthetisch[es] Urteil" (Kap. 6.)

Synthetic reasons are not purely theoretical, that is to say they are not simply hypotheses that can easily be accused of being mysterious entities such as ‘life force’ and ‘élan vital’, as with the previous generation philosophers of emergence

REALITY brought forth by simulation

attractors of processes represent tendencies

strange attractorschaos theory

Synthetisch VernünftigPaolo Cirio

Synthetisch VernünftigImri Khan

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1 Untitled, 2014 - Daniel Franke

2 Brute Force Method, 2013 - Andreas N. Fischer

3 Optic Nude - Claudia Hart

4 Spheres 1-20 - Sara Ludy

5 (W)orld Currency Equation - Paolo Cirio

6 Postcards from Google Earth, 2012 - Clement Valla

7 Media Markt 3, 2014 - Imri Kahn

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(W)orld Currency Equation, 2014Paolo Cirio

(W)orld Currency Equation illustrates a global currency through the creative formulation of an equation and a trading algorithm for the currency exchange market. The visionary creation of algorithmic trading combines art with the material that governs contemporary society. In doing so, it aims to introduce new art practices. The artwork seeks to inspire social transfor-mation through envisioning positive and innovative economic tool. It addresses the inherent instability of various currencies, as well as the need for a new independent global reserve currency that could potentially empower and unite the world population. As a sustainable financial instrument, the World Currency Equation will act as a cushion that will protect people against the increased volatility of individual currencies due to speculative manipulations and economic swings, while preserving market access across different geo-political and social domains.The proposed algebraic equation provides valuation and liquidity for a new currency (W) based upon the average of an index of

individual currencies. The formula combines and secures dominant national currencies with new digital and local complementary currencies, preserving autonomy and diversification within universal acceptance. The artwork is illustrated through the artistic expression of a mathematical equation and a diagram of an algorithm. These two elements indicate how the value of the currency is calculated and how its liquidity is created and maintained.

Paolo Cirio works with aesthetic solutions in shaping systems of distribution, organization, and control of information that affect flows of social, economic, and cognitive structures. Cirio’s innovative and controversial projects investigated various issues in fields such as privacy, transpar-ency, finance, copyright and democracy.He renders his conceptual works through performances, photos, drawings, videos and installations. Cirio has exhibited in international museums and institutions and has won numerous prestigious art awards. He regularly gives public lectures and workshops at leading arts festivals and universities worldwide.

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Brute Force Method (2014)Andreas Nicolas Fischer

Brute Force Method by Andreas Nicolas Fischer is created from a series of 300 images posted on the artist’s Tumblr. The works on display were selected on the basis of the number of reblogs and likes per month ranging from 20 to 5,500 notes. The work is a dialog between the digital material and the artist, which is in permanent fluctuation. The digital is seen as “matter endowed with morphogenetic traits of its own” (Manuel DeLanda)- there is an inherent quality of software which goes beyond what one can control, Fischer emphasises this instead of trying to hide it. This can be seen in the series Brute Force Method where he works with simulations, trying an endless array of visual combinations that gets evaluated not only by the artist but by an online audience.

Andreas Nicolas Fischer (b. 1982, Munich, Germany) concerns himself with the physical manifestation of digital processes and data through generative systems to create sculptures, prints and installations. His work has been shown at museums, galleries and festivals in Europe, Asia and the U.S. He holds an MA from the Berlin University of the Arts, where he studied under professor Joachim Sauter. The artist lives and works in Berlin.

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Untitled, 2014Daniel Franke

Daniel Franke (b. 06.09.1982) is an Artist, Curator and Music Video Director living and working in Berlin. He studied Visual Communication and Media Art at the UDK Berlin and completed his master thesis studying under Joachim Sauter and Alberto DeCampo in 2011. In 2011 he co-founded LEAP. In his work he challenges our understanding of the digital, aiming to view it in the context of a physical perception in the field of animation. He thereby transforms practises known from classical animation into tangible expressions in the “real”, factual and bodily world to explore and visualise complex coherences.

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Optic Nude (2013)Claudia Hart

Claudia Hart has created a tech version of a sixties cannon - the black-light “painting on velvet” - with her 2013 23-minute 3d-anima-tion “Optic Nude.” The animation, projected on a floating velvet projection field is inspired by a 1963 image by the same name by British photographer Jean Straker, known in the fifties for his erotic images of unconven-tional female beauties. His work was regularly confiscated by the British authori-ties, resulting in Straker becoming known as an activist who helped to change to the censorship laws of his time. Hart has reconstructed Straker’s photo and then used a variety of digital processes to layer different types of pulsating visual patterns over it, from strobing light simulations to the simulation of the motion of a curtain slowly fluttering in the breeze, then created a personal remix of chanting Buddhist monks as audio. The result is a version of trance-art that is techno-sublime: an attempt to imagine a digital space of disembodiment that is post-op, post- pop, post-human, post-Pictures, post-capture and post-photographic.

Claudia Hart has been active as an artist, curator and critic since 1988. She creates virtual representations that take the form of 3d imagery integrated into photography, multi-channel animation installations, performances and sculptures using advanced production techniques such as Rapid Prototyping, CNC routing and augmented-reality custom apps. Her works deal with issues of representation, the role of the computer in shifting contemporary values about identity and the real, and specifically questions ideas about what might be considered “natural.” Her project is to feminize the masculinist culture of technology by interjecting emotional subjectivity into what is typically the overly-determined Cartesian world of digital design. Works from her current and earlier bodies of work have been widely exhibited with galleries and museums and collected by the Museum of Modern Art and the Metropolitan Museum, NY, and the Museum of Contemporary Art, Berlin, among others. Since 2007, she has been an Associate Professor in the department of Film Video New Media and Animation at the School of the Art Institute in Chicago and been represented by bitforms gallery, in New York.

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Media Markt 3 (2014)Imri Kahn

tv movieromance novelmovie theateraudio bookinternet pagegossip columnmedia marketpizza carpetpeanut buttervideo papercomputer desktopweb episodetv dinnerrender farmface bookword documentaudio desktoppersonal computer

family nameprivate propertygossip farmromance pizzatoilet paperrender theatrepersonal carpetmedia columnshower curtain

Imri Kahn studied fine art at the UDK, Berlin and at Bezalel Academy, Jerusalem. Trained as a video editor, performer and writer, he works freelance in production and post-production. His work has been screened internationally, winner of a Knispel Stipendium and Achtung Berlin Film Festival (with Lior Shamriz). In March he had his first solo show at Tempo Rubato Gallery, Tel-Aviv.

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Spheres 1-20 (2013)Sara Ludy

“Sara Ludys work ‘’Spheres 1-20’’, ambigu-ous forms float in polygonal landscapes created from snippets sourced from Ludy’s wanderings of the internet, personal photos, and samples of computer-aided-drafting motifs. Taking two-dimensional screen captures and image-mapping them onto three-dimensional rotating forms, Ludy creates her Spheres as virtual architectures that refer to an amorphous and psychologi-cal space. Between each 1-minute episode of the video, abrupt cuts shift the focus to new structures while an audible synthesized drone changes pitch with each reveal, similar to the shift found between levels in video gameplay.

Sara Ludy (born 1980, USA) explores confluence of the physical and virtual using a variety of traditional and digital media. Her practice incorporates photography, anima-tion, video, live performance, drawing, virtual environments, and sound.

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Postcards from Google Earth (2012)Clement Valla

Clement Valla collects Google Earth images. He discovered strange moments where the illusion of a seamless representation of the Earth’s surface seems to break down. At first, they seemed to be glitches, or errors in the algorithm, but looking closer he realized the situation was actually more interesting — these images are not glitches. They are the absolute logical result of the system. They are an edge condition—an anomaly within the system, a nonstandard, an outlier, even, but not an error. These jarring moments expose how Google Earth works, focusing our attention on the software. They reveal a new model of representation: not through indexical photographs but through automated data collection from a myriad of different sources constantly updated and endlessly combined to create a seamless illusion; Google Earth is a database disguised as a photographic representation. These uncanny images focus our attention on that process itself, and the network of algorithms, computers, storage systems,

automated cameras, maps, pilots, engi-neers, photographers, surveyors and map-makers that generate them.

Clement Valla is a Brooklyn based artist. His recent solo show ‘Surface Survey’ at Transfer Gallery in New York was an Artforum Critic’s Pick. His work was included in the “Paddles On!” auction at Phillips, organized by Lindsay Howard. His work has also been exhibited at The Indianapolis Museum of Art, Indianapolis; Museum of the Moving Image, New York; Thommassen Galleri, Gothenburg; Bitforms Gallery, New York; Mulherin + Pollard Projects, New York; DAAP Galleries, University of Cincinnati; 319 Scholes, New York; and the Villa Terrace Decorative Arts Museum, Milwaukee.

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Pwww.xLEAPx.org info@xLEAPx.org

Leipziger Strasse 6310117 Berlin

Lab for Emerging Arts and Performance

Exhibition created byJohn McKiernan

Daniel FrankeSandra Moskova

Nina KettigerImri Kahn

LEAP

11.07.20147 pm

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