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Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates a Disse

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Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Richard Block, Chair Sabine Wilke Ellwood Wiggins Program Authorized to Offer Degree: Germanics ©Copyright 2018 Nathan Jensen Bates University of Washington Abstract Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates Chair of the Supervisory Committee: Professor Richard Block Germanics This dissertation explores the question of how German modernist novels anticipate and critique the transhumanist theory of mind-uploading in an attempt to avert binary thinking. German modernist novels simulate the mind and expose the indistinct limits of that simulation. Simulation is understood in this study as defined by Jean Baudrillard in Simulacra and Simulation. The novels discussed in this work include Thomas Mann’s Der Zauberberg; Hermann Broch’s Die Schlafwandler; Alfred Döblin’s Berlin Alexanderplatz: Die Geschichte von Franz Biberkopf; and, in the conclusion, Irmgard Keun’s Das Kunstseidene Mädchen is offered as a field of future inquiry. These primary sources disclose at least three aspects of the mind that are resistant to discrete articulation; that is, the uploading or extraction of the mind into a foreign context. A fourth is proposed, but only provisionally, in the conclusion of this work. The aspects resistant to uploading are defined and discussed as situatedness, plurality, and adaptability to ambiguity. Each of these aspects relates to one of the three steps of mind- uploading summarized in Nick Bostrom’s treatment of the subject. In addition to transhumanism and simulation, other concepts or areas of inquiry include the posthuman; Heidegger’s fourfold; Benjamin’s definition of translation; free indirect speech; the narratology of Dorrit Cohn, Alan Palmer, and Alfred Döblin; and, to a lesser extent, the deconstruction of masculinity. It is ultimately argued that the location of fictional minds in the novel has a flattening effect, but it is this flattening effect which simultaneously discloses the mind’s resistance to two-dimensionality. ACKNOWLEDGEMENTS It is a poignant experience to reflect back on all the people and influences, seen and unseen (at least at the time), that have contributed to the completion of this dissertation. The journey has not been an easy one, but it was rewarding beyond measure. And so it seems that the words we propose in gratitude never adequately capture the feelings they evoke, but in the hope that they will extend some inkling of the feelings connected to them, I would like to express my gratitude to all those who contributed to the culmination of this endeavor. First and foremost, I would like to thank my dissertation advisor, Dr. Richard Block, for being willing to take a chance on me. He offered me aid and support while always allowing me the freedom to explore the ideas which piqued my interest. In particular, I would like to thank him for always encouraging me to trust my gut. My thanks also goes to the other members of my dissertation committee, Dr. Sabine Wilke and Dr. Ellwood Wiggins, for their support, feedback, and encouragement. Dr. Wilke waded through some of the murkier drafts of this dissertation in colloquium, and I am particularly grateful that, despite the indistinctness, she helped me find new avenues to explore. Dr. Wiggins played an important inspirational role in the development of this project, even before the idea for this dissertation fully materialized, by challenging my preconceptions and exemplifying a passion for scholarship. The members of the writing colloquium also deserve my utmost thanks for their cheerful reassurances and constructive criticisms: Seth Berk, Olivia Albiero, Jasmin Krakenberg, Verena Kick, Kristina Pilz, Justin Mohler, Chase Stamper, and Vanessa Schmolke. I would also like to thank Dr. Eric Ames and Dr. Brigitte Prutti for their guidance and consultation as department chairs. I would also like to thank Dr. Marina Wagner- Egelhaaf for letting me try this idea out in a German setting. My family also deserves recognition for their unflagging support: my parents, who told me never to give up; my siblings and in-laws, who never doubted that I wouldn’t; and my children, who always put things in perspective. Lastly, I would like to recognize the devotion, patience, and affection of my wife who has been my most ardent ally during these dissertating years. We have helped each other reach our dreams, and may this ending be but the beginning of the next one. DEDICATION For my family TABLE OF CONTENTS Introduction: The Uploaded Mind and the Novelized Mind …………………………………….1 Chapter One: Thomas Mann’s Der Zauberberg: The Situatedness of the Mind ……………….33 Chapter Two: Hermann Broch’s Die Schlafwandler: The Translation of the Mind ……………80 Chapter Three: Alfred Döblin’s Berlin Alexanderplatz: Die Geschichte von Franz Biberkopf: The Adaptibility of the Mind ..…………………………………………………………………136 An Open Conclusion: Irmgard Keun’s Das Kunstseidene Mädchen: Beyond the Simulation of the Mind…….…………………………………………………………………………….…194 Works Cited……………………………………………………………………………………207 Bates 1 Introduction: The Uploaded Mind and the Novelized Mind Mind the X X marks the death. To be specific, the death of Fred Stiller, which, at the close of Rainer Fassbinder’s 1973 made-for-TV science-fiction drama Welt am Draht (World on a Wire), is a death that obscures the boundary between reality and simulation.1 Fred Stiller, played by Klaus Löwitsch, is a programmer at a high-tech company working on the creation of a computer- simulated world called the Simulacron. Through the course of the film, Stiller comes to discover not only that his own world is in fact a simulation, but that he is a simulated facsimile of the “real” Fred Stiller, the original programmer of the Simulacron. Stiller attempts to convince other simulants (some inspired by real-world persons, others completely original) of the counterfeit nature of their world but, by doing so, inadvertently causes the deaths of the individuals he attempts to inform. Stiller comes to learn from the simulant of the real Eva Vollmer (who is, not inconsequentially, the lover of the real Fred Stiller), played by Mascha Rabben, that the deaths of these simulants have been orchestrated by the original Fred Stiller in order to protect the integrity of the Simulacron he invented. Simulant Eva, who is controlled directly by the real Eva, confesses that she has fallen out of love with the original Fred Stiller because of his megalomaniacal drive to control the Simulacron and its simulants. Instead, Eva explains, she has fallen in love with the simulated Fred Stiller because he reminds her of what her Fred used to be. Without disclosing her plan to either Fred Stiller, Eva swaps the consciousness of the real Stiller for the simulated one, allowing the milder Stiller to wake up in the body of the Stiller prime, while the mind of Fred Stiller prime enters the simulated body of simulant Fred Stiller just as the 1 Not to belie the intricacies and complexities of Fassbinder’s film or Daniel F. Galouye’s pioneering 1964 novel Simulacron-3 on which the film is based, I focus on the end of this story in order to broach the intractable problem between simulation and “the real.” Bates 2 police riddle his body with bullets, inscribing a perfect X into his chest. Thus, the real Stiller has inadvertently effected his own death in the simulation he himself created. The film proposes the possibility of death by simulation, execution by one’s own art(ifice), which is strangely evocative of Jean Baudrillard’s definition of simulation as the gradual replacement of reality with the simulation itself—a concept that will be discussed in greater detail in chapter one.2 The mind-switch in Welt am Draht is profoundly troubling: on the one hand, it seems to be an exchange of minds for the better, correcting the personality excesses of an autocratic computer programmer; but, on the other hand, the viewer was never allowed to observe the real Fred Stiller, to determine whether Eva’s actions were warranted. The ending of the narrative at this juncture also prevents us from determining if the simulant mind will be able to adapt to its new embodiment and to what degree it can successfully navigate the real world. Isn’t it possible that original Fred Stiller might have eventually changed his evil ways, or could it be that his personality traits were misrepresented in the first place, or perhaps the simulated world of his creation was manipulated by other programmers, conspiring to usurp his control over the Simulacron? Likewise, how can we say that the new persona of Fred Stiller is even comparable to the original, or that it will function properly in a physical body? How can we know for certain that the exchange of minds was fair or even? Is it possible that something was left out in the transfer? 2 Baudrillard describes simulation in successive phases; first, as reflection; then, masking and perversion; next, absence; and finally, no relation, or pure simulacrum (170). While both Gilles Deleuze and Jacques Derrida grappled with the concept of simulacrum, the latter declared in La Pharmacie de Platon that “Writing is a simulacrum.” Baudrillard’s conception provides a complexity and structure which more accurately parallel the findings in the works analyzed in this dissertation. Bates 3 Fig. 1 The X inscribed on the body of the simulated Fred Stiller. Welt Am Draht. Directed by Rainer Werner Fassbinder, performances by Klaus Köwitsch, Barbara Valentin, Mascha Rabben, and Karl Heinz Vosgerau. The Criterion Collection, 2012. Fassbinder may have given his viewers one clue about how to read this death by simulation.
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    2011 SEP / OCT BAM/PFA UC BERKELEY ART MUSEum & PacIFIC FILM ARCHIVE PROGRAM GUIDE SILKE OTTO-KNAPp RICHARD MISRACh DESIRÉE HOLMAn KURT SCHWITTERs cREATe hIMALAYAN PILGRIMAGe DZIGA VERTOV RAINER WERNER FASSBINDER UCLA FESTIVAL OF PRESERVATIOn PAUL SHARITs yILMAZ GÜNEy nEW HOLLYWOOD CINEMA IN THE SEVENTIEs TERRY RILEY rOBIN COX ENSEMBLE 01 BAM/PFA EXHIBITIONS & FILM SERIES SILKE OTTO-KNAPP / MATRIX 239 P. 7 1991: THE OAKLAND-BERKELEY FIRE AfTErmATH PHOTOGRAPHS BY RICHARD MIsrACh P. 5 RICHARD MIsrACH: PHOTOGRAPHS from THE COLLECTIOn P. 6 DESIRÉE HoLMAN: HETEroTOPIAS / MATRIX 238 P. 9 CREATE P. 8 ROME, NAPLES, VENICE: MASTERWORKS from THE BAM/PFA COLLECTIOn P. 9 KURT SCHWITTErs: COLor AND COLLAGe P. 8 HIMALAYAN PILGRIMAGE: JOURNEY TO THE LAND of SNOWS P. 9 THom FAULDErs: BAMscAPE UCLA FESTIVAL of PrESErvATIOn P. 15 THE OUTSIDErs: NEW HoLLYWooD CINEMA IN THE SEVENTIES P. 12 SOUNDING Off: PorTRAITS of UNUSUAL MUSIC P. 18 ALTERNATIVE VISIONS P. 22 ANATOLIAN OUTLAW: YILMAZ GÜNEy P. 20 KINO-EYE: THE REvoLUTIONARY CINEMA of DZIGA VERTov P. 24 A THEATER NEAR You P. 19 PAUL SHARITS: AN OPEN CINEMa P. 23 HomE MovIE DAy P. 17 RAINER WERNER FAssbINDER: TWO GrEAT EPIcs P. 26 GET MORE Listen to artist Desirée Holman in conversation with curatorial assistant Dena Beard, bampfa.berkeley.edu/podcasts. Cover Dziga Vertov: Imitation of the "Leap from the Grotto" (PE 5), c. 1935; from the Vertov Collection, Austrian Film Museum, Vienna. Listen to the June 23 Create roundtable discussion, bampfa.berkeley.edu/podcasts. 01. Peter Bissegger: Reconstruction of Kurt Schwitters’s Merzbau, 1981-83 (original ca. 1930–37, destroyed 1943); 154 3/4 × 228 3/8 × 181 in.; Sprengel Museum Hannover; Photo: Michael Herling/ Learn more about L@TE artists and programmers at bampfa.berkeley.edu/late.