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LITERARY ESSAYS
ted
Ernst Bloch
by Andrew Joron
and Others
Stanford
University
Press
Stanford
California
I998
i
-1'
t
304
LITERARY ESSAYS
The Anxiety of the Engineer
Today, when machinery is set in motion, the process is not always as
safe and unerring as claimed, or as might be thought once the machineto all appearances-has been successfully activated. We find a demonstration of this in an unusual personal experience that was related some time
ago by a young engineer. He was building refrigerators that produced
temperatures lower than any found on earth. Such cooling apparatuses
are needed by industry because, as one might expect, certain chemical
compounds can be formed only at temperatures barely exceeding absolute
zero. After countless trials, the young inventor got lucky: a new model,
capable of setting further records, sprang from the drawing board. Yet at
this point something strange happened to the inventor: his joy turned to
anxiety and he began to wish that the next day would bring to light some
flaw or mechanical failure, relieving him (and his colleagues as well) of the
unease of his good fortune, and shattering the artificial machine along
with its artificial product in its artificial space. And, against expectations,
this is exactly what occurred the very next day during a routine test. Absurdly enough, as the test went awry, the failed magician breathed a sigh
of relief, surprised at his own reaction. It is indeed astonishing that the
young engineer should have felt this way regarding his own brainchild;
and while his state of mind may be understandable to many older or oldfashioned laypersons, it is more difficult to comprehend from the viewpoint of the inventor, or within the context of the invention itself. On the
other hand, the manifestation of his anxiety is not at all out of place in
the Americanized big city where most engineers work-and even more
so, where technology has achieved an apparent victory over the limits of
nature. For the coefficient of known and, more significantly, unknown
danger has increased proportionately. In order to properly account for the
bourgeois-technical relationship to nature, the content of this anxiety
must be spelled out and made palpable.
I. In the first place, much that is primitive can be heard to echo here,
much that remains internal. Those who are weak may feel quite comfortable with the notion that they are not able to take risks precisely because
they are not bold enough. Although they strive for success, or at least
envy those who have attained it, they are fearful of falling from the
heights of attainment. They are arrested in a state somewhat like the child
Part VI· Estrangements
who, having been burned often, shuns
a grown man may be wary of stepping,
2. Furthermore, this anxiety is rootc
with strangeness and containing repre
not encounter again; the shock of succc
ent. To children, the lighting of the stn
quite uncanny, artificial, and even inso
night-in place of the sun's-is one's<
natural law. This very. early feeling of d
ous, anxiety in relation to one's own c<
of the engineer by virtue of his profes
Nature with a creative and procreative;
ther, with sexual desire and deceit alike
the will to miss one's aim.
3. This is further supported by the,
now ubiquitous. For, as a middle-class
takes on the appearance of this type), he
or the adventurer; indeed, such a persor
much as the opposite of these heroic fi1
rather, he is afraid of life's uncertaintie
ever is liable to spring out of hiding du
himself with a thousand thoroughly rat:
the new is encountered in the same wa
with no smaller degree of protection. T
pioneer, is not really a knight seeking a<
der to test his courage against wilderne
ing forth, he practices a good deal of ct
true information, equipped with safe~
fuse might prove to be too weak and I
plied. The chance of an accident shoul,
to a minimum; yet this chance increase
known. In the present case, the unkna
solute zero, which is enough to provokt
same time, these technical safeguards (
don't escape the calculations of insurai
are intended to serve different ends; i
RY ESSAYS
motion, the process is not always as
night be thought once the machinesfully activated. We find a demonstra~perience that was related some time
building refrigerators that produced
l on earth. Such cooling apparatuses
one might expect, certain chemical
!mperatures barely exceeding absolute
ng inventor got lucky: a new model,
>rang from the drawing board. Yet at
1ed to the inventor: his joy turned to
,e next day would bring to light some
1im (and his colleagues as well) of the
attering the artificial machine along
cial space. And, against expectations,
y next day during a routine test. Ab', the failed magician breathed a sigh
on. It is indeed astonishing that the
s way regarding his own brainchild;
tnderstandable to many older or oldtcult to comprehend from the viewontext of the invention itself On the
: anxiety is not at all out of place in
,st engineers work-and even more
t1 apparent victory over the limits of
1 and, more significantly, unknown
In order to properly account for the
nature, the content of this anxiety
,le.
,rimitive can be heard to echo here,
ho are weak may feel quite comfortt able to take risks precisely because
1 they strive for success, or at least
1ey are fearful of falling from the
ed in a state somewhat like the child
Part VI· Estrangements I (Janus Portraits)
305
who, having been burned often, shuns the fire. In a similar way, perhaps,
a grown man may be wary of stepping out of line.
Furthermore, this anxiety is rooted in very early stimuli, prickling
with strangeness and containing repressed items that one would rather
not encounter again; the shock of success often clothes something different. To children, the lighting of the streetlamps after sunset appears to be
quite uncanny, artificial, and even insolent. The light that penetrates the
night-in place of the sun's-is one's own, self-generated in violation of
natural law. This very early feeling of dread, this particular, even incestuous, anxiety in relation to one's own courage may also echo in the mind
of the engineer by virtue of his profession. He, too, penetrates Mother
Nature with a creative and procreative aim, usurping the rights of the father, with sexual desire and deceit alike. Bad conscience, then, appears as
the will to miss one's aim.
2.
3. This is further supported by the calculating type of person who is
now ubiquitous. For, as a middle-class citizen (and our young engineer
takes on the appearance of this type), he is highly distinct from the knight
or the adventurer; indeed, such a person "came, saw, and conquered" very
much as the opposite of these heroic figures. He is not seeking anything;
rather, he is afraid of life's uncertainties. He is especially afraid of whatever is liable to spring out of hiding during the hunt. Thus he surrounds
himself with a thousand thoroughly rationalized safeguards, ensuring that
the new is encountered in the same way as the conventional-or at least
with no smaller degree of protection. The modern inventor, the technical
pioneer, is not really a knight seeking adventure for its own sake, or in order to test his courage against wilderness and dragons. Rather, in venturing forth, he practices a good deal of cunning and draws upon tried-andtrue information, equipped with safety fuses-while fearing that some
fuse might prove to be too weak and burn out when the current is applied. The chance of an accident should rightly and properly be reduced
to a minimum; yet this chance increases with every advance into the unknown. In the present case, the unknown lies at the thermal limit of absolute zero, which is enough to provoke a feeling of non plus ultra. At the
same time, these technical safeguards (including the well-timed reversal)
don't escape the calculations of insurance companies. Such calculations
are intended to serve different ends; still, they are grotesque from the
306
LITERARY ESSAYS
viewpoint of the knightly adventurer. In a completely calculable world, of
course, the figure of the knight who stands before the unknown would
not exist. Yet in that world, the knight's opposite number, the engineer,
likewise would have no role. For in the figure of the modern engineerof the highest rank, at least-the spirit of adventure is still preserved, despite the sharp distinction between _the technical pioneer and the traditional danger-seeker. Even hubris is still alive in the heart of the inventor,
though it is filtered and diluted by empirical calculation. Thus we can see
how, as in the present case, a conflict might arise between the two natures
locked within one heart. This means that the inventor in his role as a
modern citizen might well oppose the adventurous researcher in himself-if not immediately, then (as in our example) after the first successful
foray into the danger zone. Here, we can distinguish a component of anxiety that is more mature, modern, and unknightly than the fears awakened by the lighting of the streetlamps, associated with trespass upon
both Mother Nature and the exclusive light-disseminating right of the patriarchal sun. Or more precisely, the anxiety that the engineer as citizen
feels vis-a-vis the engineer as adventurer can be expressed by the injunction: Man should not tempt the gods! Hence the joy when hubris cannot
attain its ultimate goal of absolute zero-when, so to speak, hubris is not
accepted there as a valid currency.
4. Not everyone today can be characterized as a fearful bourgeois. But
can our inventor even locate that darkness whose surmounting might provide an exciting challenge for him? Hardly, for he would see himself then
confronted with a very different haunted circle, where nothing is real,
where everything appears to consist of empty relationships. For bourgeois
production and its real world are increasingly externalized and alienated,
with respect not only to its safety measures but also to its pioneering urge.
Production is founded upon an abstractly compartmentalizing, labor-dividing rationality; this artificiality is just as detached from the living
wholeness of the human being as it is from the "natural" context of the
task in question. It is instructive to compare this to precapitalist times of
anxiety as well as to the more trusting lifestyles of southern regions, where
things are allowed to remain in a halfway real condition, and delight is
taken in the way things come to their own equilibrium and completion.
High above Naples, for example, there is a broken water pipe, and next to
it some useless rails, the remnants of a bankrupt rack railway. But from
Part VI: Estrange,:
this multiplication of minuseslated-the following plus can re
pipe has flowed onto the railway
mountainside, to finally gush ou1
ously water-deprived district. Herc
low the earth-he is not absent,.
Vesuvius, but a still "organic" wo
confluence of events, on the rem
(and not so new) life to blossom o
Conversely, the existence of the te,
dangerous and completely lackin
ural correlations have been torn a
where the world has become a s,
course. The city of ever-increasini
tance from the natural landscape:
vulnerable that it is increasingly 1
tent that it has rooted itself in mic
that have grown more and more s
ganic metropolis must defend itsc
though against an enemy invasio
are not of the old kind, made up c
cident. Instead, they dwell amid d
itself; with respect to "nature," the
ing of nothing but calculations, :
and that increasingly has taken u
conditions, in ever more "matht
been built according to such an
pushed so far into the state of ar,
category of objects-that they ha,
spirits. It is here that the old demi
lowness, and the dragon as the em,
ject who bears the power of electri
de or nothing about what darkne
nighttime village means, or what
night of Franz Moor 31 or of Sh~
blue. It is now dead midnight"). 1
ical feeling has become all the mo
Sais. In Schiller's ballad of the s;
RY ESSAYS
:r. In a completely calculable world, of
to stands before the unknown would
ight's opposite number, the engineer,
the figure of the modern engineer,irit of adventure is still preserved, dethe technical pioneer and the tradistill alive in the heart of the inventor,
mpirical calculation. Thus we can see
t might arise between the two natures
ns that the inventor in his role as a
the adventurous researcher in himour example) after the first successful
can distinguish a component of anxmd unknightly than the fears awakimps, associated with trespass upon
re light-disseminating right of the pa: anxiety that the engineer as citizen
urer can be expressed by the injunc,! Hence the joy when hubris cannot
ro-when, so to speak, hubris is not
:acterized as a fearful bourgeo\s. But
mess whose surmounting might pro[ardly, for he would see himself then
:inted circle, where nothing is real,
>f empty relationships. For bourgeois
reasingly externalized and alienated,
sures but also to its pioneering urge.
actly compartmentalizing, labor-di, just as detached from the living
s from the "natural" context of the
>mpare this to precapitalist times of
lifestyles of southern regions, where
fway real condition, and delight is
· own equilibrium and completion.
: is a broken water pipe, and next to
a bankrupt rack railway. But from
Part Vl· Estrangements I (Janus Portraits}
307
this multiplication of minuses-where nature has not been overstimulated-the following plus can result: for years, water from the broken
pipe has fl.owed onto the railway tracks, following their path down the
mountainside, to finally gush out, far below, into the streets of a previously water-deprived district. Here the old dragon sleeps, unprovoked, below the earth-he is not absent, at this short remove from Pompeii and
Vesuvius, but a still "organic" world relies on the whims of a beneficent
confluence of events, on the remedies offered by chance, allowing new
(and not so new) life to blossom out of that which is defective and ruined.
Conversely, the existence of the technologically advanced city is extremely
dangerous and completely lacking in beneficent harmonies. There, natural correlations have been torn apart-as in New York or similar places
where the world has become a scene of commercial activity and intercourse. The city of ever-increasing artificiality, in its detachment and distance from the natural landscape, is simultaneously so complex and so
vulnerable that it is increasingly threatened by accidents to the same extent that it has rooted itself in midair-that is, the city is built upon roots
that have grown more and more synthetic. This grandly suspended, inorganic metropolis must defend itself daily, hourly, against the elements as
though against an enemy invasion. But most important, these elements
are not of the old kind, made up of conventional modes of chance and accident. Instead, they dwell amid the complexities of mechanized existence
itself; with respect to "nature," they inhabit nothingness: a nature consisting of nothing but calculations, a nature that arrived with the machine
and that increasingly has taken up residence under ever less perceptible
conditions, in ever more "mathematized" dimensions. Machines have
been built according to such an alienated form of understanding, and
pushed so far into the state of artificiality-and even partly beyond the
category of objects-that they have begun to populate a new realm of the
spirits. It is here that the old demons appear as a far more dangerous hollowness, and the dragon as the emptiness ofthe modern battlefi,eld. The subject who bears the power of electrification knows (fortunately for him) little or nothing about what darkness is, or what the tocsin's ringing in the
nighttime village means, or whanhe night of the evil ones implies-the
night of Franz Moor 31 or of Shakespeare's Richard III ("The lights burn
blue. It is now dead midnight"). For the subject, however, another mythical feeling has become all the more distinct: the experience ofthe statue of
Sais. In Schiller's ballad of the same name, this was anticipated not so
308
LITERARY ESSAYS
much as an experience of terror than of emptiness. "Isis" is not frightening in any still halfway definable sense that could be linked to the primitive fear of nature. Neither does "Isis" emerge here as the exultant goddess, inspiring the greatest rapture in her disciples-as in the famous ecstasy of Apuleius, the mystic of Isis, to whom the "sun at midnight"
seemed to shine forth from the depths of the world-mother's being.
Rather, "Isis" herself has been transfor~ed into something null and void:
the youth who is driven to the veiled statue by a burning desire for truth
is not, like the medieval Faust, claimed by the devil but by a sense of absolute futility. The devil is still a fragment of the ancient Isis, namely, of
demonic nature; however, the nothingness that stands behind the mechanized world, a world unmediated by humanity, is a mortuary in which
people have been buried alive. The subject is teetering on the brink of absolute nihilism; and if this mechanization with or without purpose, this
universal depletion of meaning, should come to fulfillment, then the future void may prove equal to all the death anxieties of late antiquity and
all the medieval anxieties about hell. For the moment, such an outcome is
prevented by the afterglow of precapitalist richness: a fund of belief long
ago exhausted, but nonetheless pawned by the Juste milieu. Meanwhile,
fascism plays both Klages's Romanticism and Spengler's cult of heroism
off against the "Sai:s'' theme. All for the sake of not having to see the underpinnings of the Weltangst, namely, the mechanics of existence in total
emptiness. The face that it shows in the West and the East is quite similar:
here, monopoly capitalism with democratic amelioration; there, state capitalism with the appearance, or with the false interpretation, of socialism.
However, subjective preeminence in the problem (as it is often phrased)
of "material well-being and spiritual misery" belongs to the West-here,
the supports have not only been betrayed, but broken. The feeling that
"there's nothing behind it all" is an old one in bourgeois society: think, for
example, of the lines that Hamlet addresses to Yorick in the graveyard, or
of Prospero's nihilistic final words in The Tempest. This feeling has always
accompanied bourgeois abstraction-even in a period when the bourgeois class was on the rise, not just in its late period. Thus, the aforementioned cryogenic engineer-a contemporary of that idling motion reflected everywhere-also believes, cum grano salis, that he will glimpse
only a terrifying false face at the bottom of his work, an entity radiating
something worse than the coldness of space, namely, unreality. Not as
though anything could be set right or even improved by reactionary
Part Vl· Estrangemei
means, of course; by adopting such
chine-smashing or other subaltern J
trary, as Kracauer has so aptly statec
it has been completely discoveredgoes straight through capitalism, not
of the ~echanical forces of product
tionary spirit, along with the radical
pearances. This latter task must be ,
achieving its own specific nothingne:
the socialist-concrete consciousness
than the one that has persisted up tc
ness provides exactly that nothingi
everything. What is meant by this
the spaces of hope that open up onc1
been pulled out, so that a "hollow'' a
positive ferment: a hollow charged "
of the Sa'is experience remains not
also~ wholly energizable one that ca
of unreality.
5. But even with this, the anxiety
explained. For it bears yet another, d
that either deceives or does not reco~
the first place to disreputable dee<h
honest inventor once found himsel
chemists and the like. The technici:
magic, occupied himself not only wi
but also filled a role in the outer ch:
priests in the performance of miracl
mately involved in "magic"-of co
magic, in principle, to be possible. '
magic, devoted to its service in a wo
des. For a long time, therefore, tee
fantastic: even during the Renaissanc
first began to properly separate itsel:
ure reminiscent of the magician.
through tradition and received by•
characters include demonic charlata
lY ESSAYS
n of emptiness. "Isis" is not frightenise that could be linked to the primi1is" emerge here as the exultant god11 her disciples-as in the famous ecis, to whom the "sun at midnight"
epths of the world-mother's being.
:>rmed into something null and void:
i statue by a burning desire for truth
ted by the devil but by a sense of ab~ent of the ancient Isis, namely, of
1gness that stands behind the mechay humanity, is a mortuary in which
1bject is teetering on the brink of abiation with or without purpose, this
tld come to fulfillment, then the fudeath anxieties of late antiquity and
For the moment, such an outcome is
iitalist richness: a fund of belief long
ned by the Juste milieu. Meanwhile,
cism and Spengler's cult of heroism
he sake of not having to see the unr, the mechanics of existence in total
~e West and the East is quite similar:
>eratic amelioration; there, state capthe false interpretation, of socialism.
the problem (as it is often phrased)
misery" belongs to the West-here,
rayed, but broken. The feeling that
i one in bourgeois society: think, for
lresses to Yorick in the graveyard, or
The Tempest. This feeling has always
-even in a period when the bourits late period. Thus, the aforemenmporary of that idling motion re,m grano salis, that he will glimpse
om of his work, an entity radiating
:>f space, namely, unreality. Not as
or even improved by reactionary
Part VI: Estrangements I (Janus Portraits)
309
means, of course; by adopting such blind and stupid expedients as machine-smashing or other subaltern forms of Romanticism. On the contrary, as Kracauer has so aptly stated, ''America'' will disappear only after
it has been completely discovered-meaning that the revolutionary path
goes straight through capitalism, not around it. Therefore, the unleashing
of the mechanical forces of production must be affirmed by the revolutionary spirit, along with the radical disenchantment of mythological appearances. This latter task must be carried out fearlessly, to the point of
achieving its own specific nothingness, namely, a total lack of illusions. To
the socialist-concrete consciousness, filled with a world quite different
than the one that has persisted up to now, the capitalist-technical emptiness provides exactly that nothingness wherein one hopes to discover
everything. What is meant by this "everything" are the real tendencies,
the spaces of hope that open up once the false and illusionary stuffing has
been pulled out, so that a "hollow" appears, free of terror and filled with a
positive ferment: a hollow charged with sparks. Because of this, the terror
of the SaYs experience remains not only a wholly authentic feeling, but
also\ wholly energizable one that can be used to break through the mask
of unreality.
5. But even with this, the anxiety in question has not been thoroughly
explained. For it bears yet another, darker attribute: that of the substitute
that either deceives or does not recognize itself as such. We are alluding in
the first place to disreputable deeds, in consequence of which even the
honest inventor once found himself associated with gold-producing alchemists and the like. The technician of old, often still inclined toward
magic, occupied himself not only with laboratory experiments and trade,
but also filled a role in the outer chambers of the cultic temple, assisting
priests in the performance of miracles. Thus, the technician was illegitimately involved in "magic"-of course, within a worldview that held
magic, in principle, to be possible. Technology was the ignoble sister of
magic, devoted to its service in a world interwoven with spells and miracles. For a long time, therefore, technology partook of the curious and
fantastic: even during the Renaiss.ance and the Baroque, when technology
first began to properly separate itself from magic, the engineer cut a figure reminiscent of the magician. This association was passed down
through tradition and received by E. T. A. Hoffmann, whose fictional
characters include demonic charlatans and physicist-magicians a la Spa-
310
LITERARY ESSAYS
lanzani-because of the shudders they provoke, such characters have recommended themselves to all the implausible horror films ever since. It is
true that the dark corners of the staircase and attic, the gloom of night,
and all the favorite haunts of ghosts have been dissipated by the electric
light. Nonetheless, the more advanced and unfrivolous technology is, the
more mysteriously it mingles with the realm of taboo, with mists and vapors, unearthly velocity, golem-robots,. and bolts of lightning. And so it
comes into contact with things that were formerly conceived as belonging
to the magicalsphere. Edison is significantly closer to Doctor Faustus than
Herbert Spencer is, for example. Much of what the old fairy tales
promised has been achieved by the latest technology: radio is able to fetch
voices from afar, and television-which resulted from the application of
the soberest scientific principles-comes close to embodying the concept
of a magic mirror. From the depths of the technological realm, therefore,
certain magical themes have emerged that bear no relation at all to prevailing abstract methods of construction, but that are compelling in
themselves. The association of such themes with technology is at first historical; later, to all appearances, it becomes a matter of actual content.
No inventor gives the impression of acting or thinking like a magician.
And yet, even as we gaze wonderingly at the world brought forth by the
inventor, we perceive our bodies to be accelerated very much in a fairy-tale
fashion, and we find ourselves able to see and hear over great distances. In
Washington, the president presses a button-and more than a thousand
miles away, at the Panama Canal, the final parcel of earth is dynamited. In
the windows of the most important Parisian banks, a small wireless device
has been on display for some time now that relays the latest news from the
London exchange. Within a fraction of a second after the rates are announced, this device is able to receive and transcribe them upon a tape
that runs haltingly through an apparatus of gears and spools, until it is extruded from the "mouth" of the machine. Roger Bacon, the thirteenthcentury experimentalist, was suspected-together with Albertus Magnus-of keeping a brazen head that could both speak and answer questions. As an idle rumor aimed at bolstering allegations of magical practices,
this was too fantastic even for the heresy hunters. Yet the Parisian device,
which has a mouth without a head, responds to questions about the exchange rate in a format already suitable for the archives. Furthermore, if
one associates the radio transport of voices with something like a three-dimensional, freestanding telephoto image, then the idea of the doppel-
Part Vl· Estrangem1
ganger is necessarily abolished, for c
appearing before one in the flesh, s<
the smallest room is filled with the ]
the Hamburg harbor, Times Square
ter's C;ithedral, to be supplemented
craters and Venusian jungles. In th1
stands the Roman Forum, perhaps ,
rum of antiquity, as an image retric
rays are still traveling outward. All o
Rabbi Low conjured up Prague's H
peror Rudolf in a tiny room. Magic
in their desire to change the world. l
ence between the results that both I
character as well as the method oft
the magician (in spite of the similari
technological engagement with natt
relations pertaining to the magical 'I
cally fragmented, rationally recoml
and laws; it works, above all, with a
parison with the analogical essences
pathetic correspondences" between
technology ultimately arrives at the
of intersection is so astonishing tha1
almost be used as a manual for in
rightly commented that the fantastic
same relation to "natural" magic-t
deeds of the Knights of the Round
remains possible to compare one to
as magic draws upon powers that an
eth-century technology makes use ol
in terms of our mesocosmic:32 world.
not available for use before the exis1
this kind operate in an abstract rea
chanics, still they touch upon old n:
that which is artificial stands in pote1
power in changing the course of the
technology possesses an entirely ne,i
power and to the "subject" of natw
Y ESSAYS
':'f provoke, such characters have rec1lausible horror films ever since. It is
ircase and attic, the gloom of night,
have been dissipated by the electric
d and unfrivolous technology is, the
e realm of taboo, with mists and vats, and bolts of lightning. And so it
rere formerly conceived as belonging
candy closer to Doctor Faustus than
\-fuch of what the old fairy tales
:est technology: radio is able to fetch
ich resulted from the application of
nes close to embodying the concept
f the technological realm, therefore,
l that bear no relation at all to pre.ction, but that are compelling in
temes with technology is at first hisomes a matter of actual content.
f acting or thinking like a magician.
r at the world brought forth by the
accelerated very much in a fairy-tale
see and hear over great distances. In
utton-and more than a thousand
inal parcel of earth is dynamited. In
trisian banks, a small wireless device
r that relays the latest news from the
of a second after the rates are an~ and transcribe them upon a tape
us of gears and spools, until it is ex1ine. Roger Bacon, the thirteenth~d-together with Albertus Mag:ould both speak and answer quesring allegations of magical practices,
:sy hunters. Yet the Parisian device,
~sponds to questions about the exle for the archives. Furthermore, if
ices with something like a three-diage, then the idea of the doppel-
Part VI: Estrangements I (Janus Portraits)
JII
ganger is necessarily abolished, for crowds of distant people are capable of
appearing before one in the flesh, so to speak-with the flick of a switch,
the smallest room is filled with the Place de la Concorde, the Rhine River,
the Hamburg harbor, Times Square at evening, the Gobi Desert, or St. Peter's Cathedral, to be supplemented soon enough with close-ups of lunar
craters and Venusian jungles. In the midst of tables, chairs, and cabinets
stands the Roman Forum, perhaps even (in our fondest fantasies) the Forum of antiquity, as an image retrieved from outer space, where its light
rays are still traveling outward. All of this is rather like the legend in which
Rabbi Low conjured up Prague's Hradcany Castle before the eyes of Emperor Rudolf in a tiny room. Magic and technology are united, obviously,
in their desire to change the world. Moreover, there is an amazing congruence between the results that both have claimed to achieve. However, the
character as well as the method of the engineer are different from that of
the magician (in spite of the similarity between Edison and Faust), and the
technological engagement with natural objects is wholly distinct from the
relations pertaining to the magical world. Technology works with analytically fragmented, rationally recombined component forces [Teilkraften]
and laws; it works, above all, with a completely quantified nature, in comparison with the analogical essences of magic, which are founded in "sympathetic correspondences" between the qualities of things. Nevertheless,
technology ultimately arrives at the same destination as magic; their area
of intersection is so astonishing that The Thousand and One Nights could
almost be used as a manual for inventions yet to come. Francis Bacon
rightly commented that the fantastic magic of the prehistoric era bears the
same relation to "natural" magic-that is, to rational technology-as the
deeds of the Knights of the Round Table to those of Charlemagne. Yet it
remains possible to compare one to the other, if only ironically. And just
as magic draws upon powers that are unknown or forgotten today, twentieth-century technology makes use of forces that are no longer recognizable
in terms of our mesocosmic32 world. High-frequency and radio waves were
not available for use before the existence of humans. And if machines of
this kind operate in an abstract realm that has no basis in good old mechanics, still they touch upon old magic by virtue of their artificiality: for
that which is artificial stands in potential proximity to nature's own art and
power in changing the course of the world. Through its end results, then,
technology possesses an entirely new relationship to nature's own creative
power and to the "subject" of nature. Previously, such a subject was con-
312
LITERARY ESSAYS
ceived only by analogy with the human subject or the subject of history;
yet, in spite of Bruno, Spinoza, and Goethe, these conceptions were not
understandable. The metaphysics of nature too, with this intrusion of
technology into natura naturans, 33 by participating with this (up to now)
hypothetical entity, will acquire its ultimate moment of concreteness. And
although no inventor acts like a magic.ian either in terms of character or
method, still the inventor's successes are not only wonder-inspiring but uncanny. At least (or especially) today, when even cryogenic engineers get so
heated up about the problem of mechanization that they no longer wish
to complete the project of discovering "America," and expect instead to
find the "irrational"-as opposed to the rational and the determinableat the bottom of their experiments. This "irrational" is reproduced, above
all, as that which is no longer knowable, and therefore anciently demonic.
Those who are susceptible can no longer invoke or banish their own creations, but instead fall victim to them. Thus a gap is opened between the
technicians and the wonders of technology. Even if the engineer (as in
some fable) is lucky enough to advance very far into the magical realm, he
is likely to respond to his good fortune once again with anxiety. In this
case, anxiety is directly related to content: it is aroused by the notion of
undeserved luck, as well as by that of a primeval realm of demons from
whence this luck originates. Both sources of anxiety are equally uncanny;
the mind is not able to easily confront such matters. The truth of the engineer's merely artificial achievement is revealed to be accidental-this realization is compounded by fears similar to those felt by Polycrates concerning his excessively good fortune in finding the ring, or by Faust in his
encounter with the "terrifying face" of the earth-spirit. I did not call you
forth-this single phrase captures the feeling of anxiety in its highest, oldest, and strongest articulation. Congruent with this feeling of anxiety is the
idea that impure spirits have somehow taken possession of a smoothly operating mechanism in order to goad it toward some hapless end. At best,
the engineer's machines serve as mediators of those natural forces that rationalism has rightly stripped of false and mythological designationswithout, however, being able to name their true motive force or to mesh
with them in a concrete fashion. Doubtless only a socialist relation to nature (consequent to a socialist mode of production and exchange) could
lay hold of the concrete aspects of the badly disenchanted magical sphere,
as well as that which appeared in earlier times to be accessible through superstition, signifiable through mythology. This ultimate appearance of anx-
Part VL Estrangem,
iety is therefore an important sign,<
ing presumption of having explaine
lacking in content, through mech~
still the best part of humanity-a L
to forget that shudder's double m
might find the beginning of a diffe1
describes a cycle of universal coolin1
cooling-a carousel of entropy anc
philosophy draws its final conclusic
6. So much for the remarkable c
its multiple meanings for today's (~
In interpreting these meanings, w
them with pathetic invocations of
no need to mention Steiner 34 in 1
foolish than atavistic. We have also
associated with the more refined
phrases as "the ruination of the ear
versary of the soul." The enginee1
have heard of the fashionable Kla~
theless, the shock that he experien
actionary but technically advance<
Kant and his "moral and aestheti<
within, or accommodated by, the 11
era. This allusion, while it is not li1
of the case, yet it relates more to a
we may ask if this case does not to
is never satisfied by mechanical rea:
a reasonable manner, after having
time, the refrigeration experiment
the limits of this form of reason its
way for contemplating and traver.
aesthetical trackway upon which e
to a halt (even at the cost of derail
tured as occurring within certain t
the point where these limits adjoi
selves with anxiety as well as joy. T
highlights the bad conscience hen
lY ESSAYS
nan subject or the subject of history;
Goethe, these conceptions were not
f nature too, with this intrusion of
y participating with this (up to now)
timate moment of concreteness. And
~cian either in terms of character or
re not only wonder-inspiring but univhen even cryogenic engineers get so
:hanization that they no longer wish
11g ''America," and expect instead to
the rational and the determinable'his "irrational" is reproduced, above
ble, and therefore anciently demonic.
1ger invoke or banish their own cre1. Thus a gap is opened between the
1nology. Even if the engineer (as in
:e very far into the magical realm, he
me once again with anxiety. In this
1tent: it is aroused by the notion of
,f a primeval realm of demons from
rces of anxiety are equally uncanny;
t such matters. The truth of the ens revealed to be accidental-this reilar to those felt by Polycrates cont finding the ring, or by Faust in his
if the earth-spirit. I did not call you
feeling of anxiety in its highest, oldent with this feeling of anxiety is the
' taken possession of a smoothly op: toward some hapless end. At best,
Ltors of those natural forces that ra: and mythological designationstheir true motive force or to mesh
,tless only a socialist relation to na,f production and exchange). could
badly disenchanted magical sphere,
r times to be accessible through sugy. This ultimate appearance of anx-
Part VI: Estrangements I (Janus Portraits)
313
iety is therefore an important sign, one that surpasses the recent overweening presumption of having explained the nature of being through relations
lacking in content, through mechanics. In this region, too, a shudder is
still the best part of humanity-a line from Faust that does not permit us
to forget that shudder's double meaning, its relation to light. Here we
might find the beginning of a different order of wisdom than the one that
describes a cycle of universal cooling, a new flare-up, and another phase of
cooling-a carousel of entropy and anti-entropy from which mechanical
philosophy draws its final conclusion.
6. So much for the remarkable case of the anxiety of an engineer, and
its multiple meanings for today's (and even more, for tomorrow's) world.
In interpreting these meanings, we have refrained from overburdening
them with pathetic invocations of the spirit world or the occult. There is
no need to mention Steiner 34 in this context: to do so would be more
foolish than atavistic. We have also declined here to promote an occultism
associated with the more refined strata of society, and given to such
phrases as "the ruination of the earth by the mind," and "the mind as adversary of the soul." The engineer, although politically a socialist, may
have heard of the fashionable Klages and his "cosmogonic Eros." Nonetheless, the shock that he experienced was not literary but naive, not reactionary but technically advanced. It is more appropriate here to recall
Kant and his "moral and aesthetic reason," which could not be located
within, or accommodated by, the mathematical and physical reason of his
era. This allusion, while it is not literary, is obviously relevant to the facts
of the case, yet it relates more to a feeling of unease than anxiety. Indeed,
we may ask if this case does not touch upon that part of the human that
is never satisfied by mechanical reason and that rejoices when it retreats in
a reasonable manner, after having been honestly withstood. At the same
time, the refrigeration experiment seems to have demonstrated-within
the limits of this form of reason itself-that there exists yet another pathway for contemplating and traversing nature: a moral and, above all, an
aesthetical trackway upon which every mechanical freight-car must come
to a halt (even at the cost of derajlment). Such an eventuality can be pictured as occurring within certain technical and causal limits-namely, at
the point where these limits adjoin others and so turn back upon themselves with anxiety as well as joy. This response, paradoxical as it is, at least
highlights the bad conscience behind contemporary relations to nature,
LITERARY ESSAYS
which have been compromised by an excess of industry and (consequently) of abstraction. And it is worth affirming that a solid education
in the natural sciences is not conducive to filling up the emptiness that
lies at the heart of the sciences with stale magic tricks. Instead, a more
suitable form of reason is sought-one capable of doing justice to this
conspicuous void, but without the aid ?f obscurantism.
I929
Technology and Ghostly Apparitions
There is much evil to be feared in today's world. But the particular
dread evoked by ghosts has become rare. Few can boast of uncanny experiences, despite the popularity of such stories. Life runs its course by way
of the familiar; exceptions mostly are shown to be tricks and illusions.
Yet, as we know, earlier times perceived themselves as unimaginably
haunted. Every third peasant had his goblin in the house; in every corner,
there was fear of the other world. Demons pressed and crowded in the
walls at night, occasionally thrusting out an eye or a tongue-only
prayers could prevent the entire demon from emerging. The woods were
inhabited by spirits both wild and gentle, while headless men waited at
the crossroads; elsewhere, moss-women were pursued by the devil. Even
in the cities, there were night-specters, often of a most curious kind: the
chained horse in Frankfurt, for example, or the fiery owl in Worms. Fables and legends are full of such reports-their effect is all the more astounding because, with all their superstition, they are recited as simply
and with as much conviction as any other public announcement or complaint. Hebbel3 5 distilled this quite humorously in his story "The Two
Vagabonds": "There was no hut so wretched that it was not visited from
time to time by a ghost or a dead person, sighing for salvation; no mountain so small that its clefts did not harbor some spirit." Grimm's peasant is
not surprised when he meets a moss-woman who asks him for protection
against the devil; he says only that "These spirits are none of my concern." And he is not surprised the next day when he finds one quarter of
the moss-woman hanging from the barn door, apparently as his share of
the devil's prey; he feels only a sober and realistic fear. And even if he was
nothing more than an ignorant peasant-and, in addition to that, noth-
Part VI: Estrangeme.
ing more than a character in GrimE
vated members of society were his
beliefs. Indeed, they may have contr
the peasant dwelled: by order of the
little more than a hundred years age
burned, that ghostly apparitions are
to the Enlightenment. But an even
the improvement in the means of ill
ing alongside straight roads, the larr
In contrast, the artifacts of the olc
it to grow. The oddly angled house,
all this promoted the idea that ghos
longer how dark the night is, exce1
feeling of isolation amid great dist
times. What remains of the will-o' -t
headlights? The sound of the deatl
unheard by the farmer who is tunin
has been homeless ever since the di
lin behind the gas stove or central-h
lous and tasteless. The screech of a
screwing of coffin nails-all such
badly lit horror films. "The lights
Richard III calls out, looking aroUil
superstition, blue flames indicate tl
flames can burn so blue, and then l
the failure of an electric bulb does
world acting to suppress the light, l
or a power-station shutdown. Solit1
tile ground for all ghosts, "which
paritions takes refuge in company.'
valid today: only in solitude do ap
macing faces. These are shapes ma
the gaps in external reality. But
Schopenhauer recommends agairu
point. While company may still pt
our home furnishings. Without ex.
tric bulb, having banished the sh
cured attacks of nighttime anxiety .