{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"22405f8c-4831-4be7-9f62-07a7c0012c4f","title":"Malign Velocities Accelerationism and Capitalism","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9781782793007","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"22405f8c-4831-4be7-9f62-07a7c0012c4f","id":"22405f8c-4831-4be7-9f62-07a7c0012c4f","uuid":"22405f8c-4831-4be7-9f62-07a7c0012c4f","title":"Malign Velocities Accelerationism and Capitalism","normalized_title":"malignvelocitiesaccelerationismandcapitalism","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9781782793007","isbns":["9781782793007"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":91,"navigation_url":"https://workshop.closeclaw.top/ai/book/22405f8c-4831-4be7-9f62-07a7c0012c4f","title_url":"https://workshop.closeclaw.top/ai/title/Malign%20Velocities%20Accelerationism%20and%20Capitalism","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/22405f8c-4831-4be7-9f62-07a7c0012c4f/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/22405f8c-4831-4be7-9f62-07a7c0012c4f/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/22405f8c-4831-4be7-9f62-07a7c0012c4f","page_url":"https://workshop.closeclaw.top/api/ai/books/22405f8c-4831-4be7-9f62-07a7c0012c4f/page","search_url":"https://workshop.closeclaw.top/api/ai/books/22405f8c-4831-4be7-9f62-07a7c0012c4f/search"},"page":{"printed_page":3,"pdf_page":33,"physical_index":33,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d3ddb0d675c04646beddd9427278ed105dd653dd320ad1e3ced5f5908f80c791"},"chapter":"WHAT PEOPLE ARE SAYING ABOUT","content":"Machine-Being\n\nThomas Brinkmann’s 1998 minimal-techno track ‘Maschine’, recorded under the name Ester Brinkmann, includes a repeated voice sample that kicks in at 3.18. In German, the voice says: ‘Ich will eine Maschine sein. Arme zu greifen Beine zu gehn kein Schmerz kein Gedanke.’ ‘I want to be a machine. Arms to grab [,] legs to walk [,] no pain [,] no thought.’ The sample is the voice of Blixa Bargeld, lead vocalist of Einstürzende Neubauten, from their album Die Hamletmaschine, which is a score for Heiner Müller’s play of that name. In Brinkmann’s hands the sample repeats the techno trope of machinic acceleration and integration, from Kraftwerk through Detroit to Sheffield, in a semi-parodic fashion. What Nick Land had celebrated as ‘manically dehumanized machine-music’ is here slowed and repeated in a lulling techno rhythm.1 The sample holds up for critical inspection the exit from feeling and consciousness (‘no pain, no thought’) promised by machinic integration that is, I will argue, the fantasmatic underpinning of accelerationism.\n\nIn this chapter I want to explore these fantasmatic and libidinal elements of the promised integration of the human with the machine, which is so prevalent within accelerationism. To do so I will treat two exemplary and widely-spaced moments: the first is Victor Tausk’s psychoanalytic research on the ‘influencing machine’, published in 1919, shortly before his suicide by shooting and hanging in the same year. Freud remarked in a letter, with honesty verging on callousness, that ‘I confess I do not really miss him; I had long taken him to be useless, indeed a threat to the future.’2 Tausk’s ‘machine’ would get an accelerationist retooling by Deleuze and Guattari in Anti-Oedipus, shifted from the status of fantasy to the Real of desiring-production. The second moment is Thomas Pynchon’s novel Gravity’s Rainbow (1973), which explores the psychopathology of machinic integration in the context of the Second World War. Pynchon’s novel would be taken-up as one of the texts subject to cybergothic remix by the Cybernetic Cultures Research Unit (CCRU) (which I will discuss in Chapter 4), and read as a manifesto of technological acceleration. My concern, in both cases, is to return to these moments as keys to the libidinal elements of the ideological fantasies of acceleration.\n\nMystical Machines\n\nIn his seminal essay On the Origin of the Influencing Machine in Schizophrenia (1919), Victor Tausk sketched out the pathological experience of identification with the machine that is suffered by certain schizophrenics.3 He traced out how in this situation we feel controlled by a machine, which might make us see pictures, produce or remove thoughts and feelings, control our bodies, create strange sensations, or produce physical ailments:\n\n3","previous_page":2,"next_page":4}