A philosophy of horror inevitably reaches transcendental limits; it is thought itself which is born in the shadowy depths of a horrific sublime. Nick Land screeches in the void that “horror first encounters ‘that’ which philosophy eventually seeks to know”, and we will trace this pre-philosophical trauma of thinking in the abstract spaces of German Expressionist cinema.
In the early 1990s PepsiCo introduced a colourless form of its now infamous soft drink, which sold under the name Crystal Pepsi. Following from a contemporary marketing fad geared towards selling transparent or colourless editions of familiar products (initiated by Ivory soap), the proviso was that transparency would evoke in consumers positive notions of ‘cleanness’ or ‘clarity’. Crystal Pepsi, however, was a market failure. (The relentless juggernaut of nostalgia has recently resurrected it from limbo, however.) It seems, then, that in our fallen (capitalized) state we actually desire tartareous muck over any vitreous and crystalline elixir.