ABSTRACT
For Alex Williams and Nick Srnicek, acceleration is a strategy for positing a constructed future against the imposed limits of capitalism, which has foreclosed a subjective sense of and belief in a futurity. Expressly building upon the groundwork of these texts, Benjamin Noys defines the term accelerationism as the tendency “to radicalize capitalism itself,” in which the only way to crash through the barrier of capitalist production is “by turning capitalism against itself.” “Accelerationism is a speculative movement that seeks to extrapolate the entire globalized neoliberal capitalist order,” which for Shaviro means “it is necessarily an aesthetic movement as well as a political one.” Signaling the accelerationism of the object is to define its role in accelerating consumerist tendencies and its speculative capacities, tied to its status as a simulation, to aesthetically reflect experience. The openness eliminates much of the perceived distinctions between art objects and non-art or everyday objects, undermining the privileged status of ‘art’ as a category.
