当下时代面临的挑战要求我们将人类社会视为一个整体而思考，在这方面许多新兴思想都将尼克·兰德于1990年代发展起来的“加速主义”作为重要思想资源。“加速主义”是一种激进的、反人道主义的虚无主义理论，包括人工智能末世论等内容。但要充分理解加速主义与我们时代的关系、弄清加速主义的魅力所在，就必须深入兰德较早时期的哲学史批判。兰德对康德、叔本华、尼采、巴塔耶与德勒兹等人的思想进行了一系列批判与推进，借之建构起“有牙的本体”的本体概念；“有牙的本体”正是1990年代中后期加速主义的思想基础。本研究的目的是在兰德的哲学史批判中厘清兰德对“本体”概念的理解，使这一“本体”与加速主义思想之间的关联浮出水面，并在此基础上探索“加速主义美学”的可能性。

尼克·兰德追逐本体的旅程始于对康德的批判。在兰德看来，正是康德哲学在两百年间有效抑制了一切新颖的、饱含生命冲动的他异性，这种建立在“受抑制的综合”基础上的哲学与资本主义、父权制以及种族主义一道组成了横亘在人与本体之间的障碍。即便如此，本体的力量常常不顾康德的意愿，从先验哲学的诸多文本缝隙之中伸出触须，比如论及本体、崇高、天才等处。本体的力量被叔本华敏锐地捕捉到了，他将康德那里的“本体”与“意志”融合在一起，构造了“生命意志”这一本体论概念，并使其首次脱离基督教之桎梏而成为一种混沌的、无目的的虚无主义本体。在叔本华的基础上，尼采的权力意志学说彻底断绝了与基督教之间的关系，成为不惜一切代价向本体前进的谵妄宣言。兰德对尼采的理解与海德格尔和德勒兹都不同：作为本体的意志既不是“一”也不是“多”，而是虚无之“零”。如何追溯与辨析由康德经叔本华直至尼采的思想谱系，如何理解兰德对尼采的阐释，将成为本研究前两章的主要内容。

以充分消化了尼采权力意志学说的巴塔耶著作为基础，兰德构造起了“有牙的本体”的本体概念。本体何以有“牙”？在巴塔耶普遍经济学的语境之中，“牙齿”被理解为“越界”的利器：本体在人类文明的躯体上咬出伤口，使被拘束的能量持续流淌出来。“有牙的本体”对人类有着强烈吸引力，持续不断地召唤着人内心深处的“动物性”；兰德通过对特拉克尔诗歌的阐释说明本体如何能唤起这种“动物性”。在谈及动物性时，兰德从尼采和巴塔耶那里继承了“传染”的概念，以表述在本体之牙的影响下人与人之间呈现出的复杂关系。不知疲倦地追逐本体的结果就是“死亡”——既是“上帝之死”，也是“人之死”。关于死亡与上帝之死的论述，为兰德前期的哲学批判架起了通往“加速主义”的桥梁。本文第三章至第六章将依照何为“有牙的本体”、本体对人的影响、本体影响下人与人之间的关系、人的“死亡”来循序渐进地揭开本体的面纱，并在这些步骤中展示兰德如何在反对人道主义、追寻本体之路上比巴塔耶走得更远。

兰德使他从巴塔耶那里提炼出的“有牙的本体”与德勒兹的“无器官的身体”彼此碰撞、相互作用，这构成了加速主义的哲学基础；本文第七章将讨论兰德如何接受了德勒兹的差异哲学，又在何处与德勒兹分道扬镳。

第八章将结合兰德对文学与科幻的思考，探索“加速主义美学”的可能性。在兰德式的加速主义美学看来，文学是“作者的死亡”，科幻是从未来到达现在的死亡；本体从未来逆向伸展至现在，将人们诱入濒死的谵妄，使他们体验到“抽象的恐怖”，这就是加速主义的美学追求。第九章将刘慈欣的科幻小说《三体》三部曲当作操演加速主义美学的实验田，并期待加速主义美学能提供一种新视角，帮我们理解《三体》风靡全球的魅力究竟从何而来。现有研究的主流观点认为《三体》的主要美学特征在于崇高，而在加速主义美学看来，《三体》所追求的并非崇高，而是崇高之前的东西，它与加速主义所说的本体密切相关。本研究的第十章将展现兰德的加速主义与当前诸多思考之间的共振关系，包括维利里奥的“竞速学”和罗萨的“加速”理论，以及诸如“左翼加速主义”这样的激进探索，并借此尝试在当下的政治光谱中给加速主义一个较为清晰的定位。

The challenges of our time require us to think about human society as a whole, and in this regard, many emerging ideas take the “accelerationism” developed by Nick Land in the 1990s as an important source of ideas. “Accelerationism” is a radical, anti-humanist, and nihilistic theory that includes elements such as the eschatology of artificial intelligence. But to fully understand the relevance of accelerationism to our time and where does its charm comes from, it is necessary to delve into Land’s earlier critique of the history of philosophy. Land’s series of critiques of Kant, Schopenhauer, Nietzsche, Bataille, and Deleuze, among others, were used to construct the concept of “Fanged Noumena”, which was the ideological foundation of accelerationism in the mid-to-late 1990s. The aim of this research is to clarify Land’s understanding of the concept of “noumena” in the context of Land’s critique of the history of philosophy, to bring to the surface the connection between this “Noumena” and accelerationist thought, and on this basis to explore the possibilities of an “accelerationist aesthetics”.

Nick Land’s journey in pursuit of noumena began with the critique of Kant. In Land’s view, it was Kantian philosophy that effectively inhibited all novel, life-affirming otherness for two centuries. Based on “inhibited synthesis”, it is this philosophy that, along with capitalism, patriarchy and racism, formed the barrier between the human and the noumena. Even so, the power of noumena often extends its tentacles through many textual gaps of transcendental philosophy, against Kant’s wishes, for example on the noumena, the sublime, the genius, etc. The power of the noumena was keenly captured by Schopenhauer, who fused the Kantian “noumena” with the “will” to construct the ontological concept “will to life”. As a result, “Noumena” was freed from the shackles of Christianity for the first time, and became a chaotic, purposeless, and nihilistic ontological concept. Based on Schopenhauer, Nietzsche’s doctrine of the will to power completely severed its relationship with Christianity and became a delirious declaration of a march on noumena at all costs. Land’s understanding of Nietzsche differs from that of both Heidegger and Deleuze: the will as noumena is neither “one” nor “many”, but rather “zero” or “nothing”. How to trace and identify the genealogy from Kant through Schopenhauer to Nietzsche, and how to understand Land’s interpretation of Nietzsche, will be the main focus of the first two chapters of this study.

On the basis of Bataille’s work, which fully digests Nietzsche's doctrine of the will to power, Land constructs the concept of “Fanged Noumena”. For what reason noumena is “Fanged”? In the context of Bataille’s universal economy, “fang” is understood as a sharp instrument of “transgression”: noumena bites into the body of human civilization to keep the restrained energy flowing out. “Fanged noumena” fascinates human beings intensively, constantly calling forth the “animality” within them; Land’s interpretation of Trakl’s poetry shows how noumena can evoke this “animality”. In speaking of animality, Land inherits the concept of “contagion” from Nietzsche and Bataille in order to express the complex relationship that emerges among human beings under the influence of noumena’s fang. The result of the tireless pursuit of noumena is “death” - both the “death of God” and the “death of man”. The discourse on death and the death of God bridges the gap between Land’s philosophical critique and accelerationism. Chapters 3 to 6 of this research will unveil the noumena in a step-by-step manner, according to what is meant by “fanged noumena”, the impact of noumena on man, the relationship among human beings under the influence of ontology, and the “death” of man, and these steps will show how Land went further than Bataille in his opposition to humanism and in his search for noumena.

Land makes “fanged noumena” and Deleuze’s “body without organ” collide and interact with each other, forming the philosophical basis of accelerationism; Chapter 7 will discuss how Land embraced Deleuze’s philosophy of difference, and where he diverged from Deleuze.

Chapter 8 will explore the possibilities of “accelerationist aesthetics” in relation to Land’s thinking on literature and science fiction. In Landian accelerationist aesthetics, literature is “death of the author” and science fiction is death comes from the future; noumena extends from the future to the present in reverse, luring people into death delirium and making them experience “abstract horror”. This is the aesthetic quest of accelerationism. Chapter 9 treats Liu Cixin’s science fiction trilogy Remembrance of Earth’s Past as an experimental field for the exercise of accelerationist aesthetics, with the expectation that accelerationist aesthetics will provide a new perspective that will help us understand where the global appeal of his science fiction comes from. Whereas the dominant view in existing research is that the main aesthetic feature of Remembrance of Earth’s Past is sublime, in the horizon of accelerationist aesthetics it is not sublimity that is sought, but rather something that precedes sublimity, something that is closely related to what accelerationism calls noumena. Chapter 10 will show the resonance between Land’s accelerationism and a number of current reflections, including Virilio’s “dromology” and Rosa’s “acceleration” theory, as well as radical explorations such as “left-accelerationism”, in an attempt to give accelerationism a clearer position in the current political spectrum.