{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ec10341c-3abb-4434-b329-53e3b4c6b7c5","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":"ec10341c-3abb-4434-b329-53e3b4c6b7c5","id":"ec10341c-3abb-4434-b329-53e3b4c6b7c5","uuid":"ec10341c-3abb-4434-b329-53e3b4c6b7c5","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":128,"navigation_url":"https://workshop.closeclaw.top/ai/book/ec10341c-3abb-4434-b329-53e3b4c6b7c5","title_url":"https://workshop.closeclaw.top/ai/title/Malign%20Velocities%20Accelerationism%20and%20Capitalism","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ec10341c-3abb-4434-b329-53e3b4c6b7c5/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ec10341c-3abb-4434-b329-53e3b4c6b7c5/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ec10341c-3abb-4434-b329-53e3b4c6b7c5","page_url":"https://workshop.closeclaw.top/api/ai/books/ec10341c-3abb-4434-b329-53e3b4c6b7c5/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ec10341c-3abb-4434-b329-53e3b4c6b7c5/search"},"page":{"printed_page":3,"pdf_page":45,"physical_index":45,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"07aa3f90f45113bfe8003e50ac1799718ba3283b4b812b1f8c940a9f85ceb4c6"},"chapter":"BENJAMIN NOYS MALIGN VELOCITIES ACCELERATIONISM AND CAPITALISM","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\n\n3","previous_page":2,"next_page":4}