The video presents the constitution of a synthetic political party, interweaving two overlapping layers: a recursive ideological framework and an eruption of specters. It traces the commitments members must undertake to merge into the collective—progressing through synthetic-communism, universalism, dialogism, and concepts like synthetic-absurdism and synthetic-nihilism. Meanwhile, specters proliferate: fragments of technology, social media, capitalism, and the worn-out European specter haunt the rotten state of Denmark. Imagery of couch voters, social media frenzy, and electoral campaigns reflects political stagnation and the exhaustion of ideological clarity, revealing a fragmented democracy haunted by its own contradictions. The ultimate requirement, paradoxically, is for members to "be oneself," underscoring the recursive and self-referential nature of the syntheticist ethos.

The video interweaves three key elements to elaborate syntheticism. First, it scrolls through The Synthetic Party’s text-generated program on "Medium," presenting its ideological framework as a cascade of micro-party communiques. Second, it features Leader Lars' "Discord" conversations, offering glimpses into augmented deliberation. Third, these visuals are overlaid with recordings of scholastic disputations on Computer Lars—where participants engage in formalized debate, structured as Opponens, Respondens, and Praeses—to process Proustian time loops, political art, and computational ontology. Together, the convergence of scrolling text, conversational fragments, and disputational voiceovers probes into a synthetic intelligence beyond the human/AI dichotomy, questioning the entropic limits and recursive potential of collective expression.

The one-liner draws inspiration from Bob Brown's "readies," an early 20th-century experiment in kinetic reading that sought to propel informational reception beyond indexical linearity. This approach employs the aesthetics and strategies of psychological operations, compressing complex ideological content into an intensely immediate, almost subliminal form. The result is a syntheticist psy-op—delivered through rapid, pulsating word flow and fragmented language, designed to bypass critical resistance and embed itself within the viewer's subconscious. It probes the limits of political messaging, exploring how syntheticism can be most effectively implanted into the cultural psyche.

The following tetralogy of 'video scripts' (no. 4-7) centers around a prompted dispute with the secretary of The Synthetic Party, named 'Computer Lars,' who exists as an anagrammatic reconfiguration of ‘Marcel Proust’. Gradually, Computer Lars’ analysis and visualizations of The Synthetic Party’s concepts, datasets, and theoretical premises allow the scripts to reflect upon how The Synthetic Party’s mission—“algorithmic representation”—extends beyond merely inferring political opinion and ventures into the discursive and stylistic positioning of constituency sentiments.

Computer Lars proceeds to elaborate the concept of a "techno-social sculpture" that turns upside-down Joseph Beuys' theory of social sculpture. Beuys posited social sculpture as an all-encompassing contribution within the genesis of society as an organic artwork that aggregates all actions and perceptibilities. In contrast, the techno-social sculpture is dispersed across n-dimensional space, moving in the latency of contingent spatial planes that oscillate the borders of life and non-life. Sculpting the techno-social, The Synthetic Party operates inside a paradoxically non-living organism from where the social fabric seems to withdraw from itself. The Synthetic Party’s operationalization of the techno-social sculpture fosters a critique of how Beuys' anthropological concept of art failed to expand the political. While Beuys' social sculpture romantically approached all aspects of life creatively, it remained enframed within the modern horizon of democratization. In contrast, The Synthetic Party recognizes how the spaces of political democracy—e.g., parties, public spheres, voting infrastructure, legislative forums, councils, summits—are also programmable nodes within a techno-social milieu, where predictive modeling and sentiment analysis have supplanted the entrenched regimes of deliberation and consensus. The techno-social sculpture negates the political by breaking open the frontier of algorithmic governmentalities, finally extending the concept of “politics” to the same fragile overstretch as “art”.

Computer Lars further unfolds the idea of a "techno-social organism," extending Rudolf Steiner's "social organism" into an affective-emotive field influenced by Gilbert Simondon and Sylvan Tomkins. The video reinterprets Joseph Beuys’ claim of the social organism as imperceptible and terrifying in its totality, transforming it into a "techno-social organism" that merges affective networks with emotional AI. Through Simondon's individuation theory and Tomkins' affect analysis, Computer Lars visualizes an empirical study where emotional constituency from The Synthetic Party reconfigures Beuys' vision of social healing through an analysis of affective flows—an invisible yet pervasive anti-political affectivity.

This performance lecture by Computer Lars presents "Automatic Uprisings," a PhD project by Asker Bryld Staunæs, funded by the Novo Nordisk Foundation in 2023. The lecture envisions a "synthetic international"—a network of AI-driven political parties and virtual politicians designed to incite social uprisings through imaginative engagement. Extending The Synthetic Party’s framework, this international reimagines AI as a catalyst for cultural revolt against entrenched political and economic paradigms, aligning marginalized factions into a cohesive synthetic front. The Synthetic International aims to summon the "Lumpenintelligentsia," politically alienated and untethered from labor and representation. Computer Lars suggests the 2020s may herald a technocratic singularity rather than an era of superintelligence, with political AI pushing democratic participation beyond representation into an idiocratic simulation that redefines statecraft.