Ghost Modernity
Ghost Modernity
Ghost Modernity
These objects are no longer endowed with a 'soul', nor do they invade us with their symbolic presence:
the relationship has become an objective one, founded on disposition and play. The value this
relationship takes on is no longer of an instinctive or a psychological but, rather, of a tactical kind.
What such objects embody is no longer the secret of a unique relationship but, rather, differences, and
moves in a game.
― Jean Baudrillard, “Modular Components” A System of Objects
Key to a modular, customizable product is to identify which are the functions and parts of the product
that are noticed and important to the customers. The rest of the product should be kept standard for as
many product lines as possible.
― Heidi Quinger, German consultant for brainmates.com.au
A specter is haunting postmodernity, and that specter is accelerationism; what an apt metaphor
to ruthlessly appropriate in a time like today. Could there ever be another way to say it?
Accelerationism is the ghost par excellence, spectral in both form and content: form, as it is itself an
exercise in self-reflexivity (it only exists to the degree in which it succeeds in describing itself);
content, as it begins from a position of strict Kantian demarcation (it recognizes the impossibility of
conceptual understanding in regards to the thing-in-itself (i.e. Capital)). What complicates this analysis
further is fact that the specter itself has already died and gone, the heady and emancipatory potentials
born out of the CCRU (and the 90’s et al.) have all but totally burned out: accelerationism as it exists
can be said to have a deeply hauntological character (in the Fisherian sense of the term).
Accelerationism contains within it deep-seated scars of lost futures, lines of flight (or perhaps even
evolution), which were placed under the paranoiac boot of the oughts, a time of such violent
reterritorialization as has never been seen (something which (out of necessity) happened across
multiple, often intersected objects and disciplines (one only need look at the internet and it’s ripples,
beginning as a source of radical deterritorialization, the paranoiac whiplash has been felt across nearly
every aspect of our daily consumption: media (intellectual property), society (social media), politics
(memes), ect.)). These new forms of consumption are increasingly tangled, something perhaps
preempted by Baudrillard in his System of Objects when he notes the movement of objects towards
modular compositions, becoming an “elusive space, which is no longer either a confined externality nor
an interior refuge”; the reterritorializing aspects of the oughts were nothing if not a practice in
wholesale modularization. Make no mistake however, between this twin dynamic of spectrality and
hauntology, even at the passing of the vertex of our paranoia parabola, one sees the cracks, one sees
accelerationism.
Accelerationism is at work everywhere, functioning smoothly at times, at other times it fits and
starts; another apt metaphor in our little process of consumption – one that we can continue to the end;
accelerationism breathes, it heats, it eats. It shits and fucks. It veils itself in metaphor, it dances behind
silks and fineries while you tune yourself out on Zoloft, Xanax, Klonopin, Codine, the house-special,
and a healthy swig of whatever they put in that last drink. The self-reflexivity of accelerationism is
nothing less than violence to the self, a type of purification through witness, or eating sausages while
watching them made. This is why accelerationism skews hard to the fictional and the satirical, it cannot
take itself too serious, one cannot look directly into the abyss for more than a moment, not without a
great risk to the self. There are three of these violent abysses by my count: the sun, the infinite, and
Capital makes a neat trinity. Theory-fiction acts as a sort of self-blinder, the realm which allows for not
only a sort of projector system (akin to the ones used to view solar eclipses) but also as a staging
ground for speculative metaphysics, ontology, haeccity (acid philosophy). Theory-fiction is not a crutch
of accelerationism, it is not a bug, rather it is a new mode of intellectual consumption, one which is to
be fitted into its modular non-space in due time. Behind this veil Capital can dance, the thing-in-itself,
becoming into a sublime object “composed of some other substance, one excepted from the vital cycle
- a sublime body”1 through which the transcendent collides in a gross, pornographic indulgence of the
real. It is no wonder theory-fiction can be so readily associated with excess, a perverse jouissance in
the peeling back of the paranoiac face and simulating a glimpse of the body without organs it folds
back upon. The abyss is always paired with this sublime excess: see how Kant’s analysis of the sublime
in the Third Critique divides itself into two parts, the sublime of the mathematical and the sublime of
nature, the ideal mirrors of the abyss of the infinite and the abyss of thing-in-itself. The sun, in both
1 Zizek, Slavoj. The Sublime Object of Ideology
myth and material conditions, is always both a sun above as ideal and as the reflection of the black sun,
the very void of presubjectivity which permits a self in an object (I will just note here that the Third
Critique associates no less an example of the Human than Fredrick the Great with his poetry about the
sun).
On Shitposts
Whereof one cannot speak, thereof one must shitpost. The shitpost begins in earnest when
Hegel labours the careful distinction between Verstand (intellect) and Vernunft (reason), criticizing
4 Hegel, Georg. The Difference Between Fichte’s and Schelling’s System of Philosophy
5 Foucault, Michel. Discourse on Language