boehme – Vast Abrupt

January 12, 2018

part 6 – cosmic dys𝔭𝔢𝔭𝔰𝔦a & divine excrement: or, an essay unveiling the teleoplexic identity of miltonic chaos, capitalist nigredo and alchemical pepsi cola™

Yesterday: ‘BASILISK: Menstrual Chaotics and God’s Ectopic Pregnancy’

DAY 6. Sugar & Zero, Milton & Böhme: the Dyspeptic Abyss of Theogony

sucrose molecule.gif — Sucrose molecule.

Insofar as Milton’s Chaos is inherently auto-productive it holds the ability to be ‘about’ something (i.e. a 19^th century consumer product) that was only made real centuries later, precisely because this latter was ‘realised’ by the tendencies that Miltonic Chaos identifies. This ability for something entirely temporally distal to invade the signifying universe of a poetic chronotope is the perfect symbol for the temporal distortion attendant upon self-causing auto-production. Milton’s poem retrospectively becomes about Chaos — not God, or Adam, or even Satan — insofar as his Chaos has made itself real under the aspect of Pepsi-Capital’s liquefaction of reality.[note]CAPITAL TELEONOMY = 330 = COSMIC PEPSI ULCER[/note] It is thus, like the Fall, an event within time that bends the shape of time itself. Miltonic Chaos ‘became real’ in the world-consuming nigredo of Pepsi-Cola capital, reciprocally consuming us under the sign of a tartareous hydraulic desire-surge. We see this substantiated in the occult historical connections between carbonation and prima materia. Pepsi is base matter. Chaos is pure auto-production: identical to the demonic zero that creates itself out of nothing. Just as carbonation was originally tied to the self-producing zero of chaos, sugar, as the main ingredient of Pepsi Cola, also teems with occult connections to zero.

We have already noted that the late 18^th century introduction of carbonation furthered the naval prowess required to support the thickening networks of the global sugar trade (and that this lead to an increase in trade that, in turn, was required to support growing public addiction, as sugar interfaced perfectly with human nervous systems, exploiting addictive tendencies as a conduit to birth a new form of consumer culture, creating one of the first examples of auto-producing hype). To this observation we must add the fact that the route of sugar into the West exactly parallels that of auto-productive zero in both geographical provenance and historical timeline. Both were developed in India’s Gupta Empire sometime around 400 BC. They then circulated throughout the Arab world and the Near East, eventually percolating into the West, and arriving in late medieval Europe around the 11^th century. Zero was transmitted via the Moors of the Iberian Peninsula, and so too was sugar (as well as coming back to Europe with soldiers returning from the crusades). Just like zero, sugar arrives in the West at the beginning of modernity — this is not a coincidence. Both, alike, unleashed forces that tore apart, and continue to tear apart, the globe, installing an oecumenon, liquidating realities, and establishing abstraction ascendant.[note]The fully liquidated world radiates abstraction ascendant; the fully capitalised world radiates effervescence ascendant.[/note] Thus, as zero, carbonation, and sugar all flow together — and facilitate each other’s development — we see how all of history converges pepsoidally and chaomantically upon the point at which Chaos realises itself under the avatar of Pepsi.

PEPSI is TARTARUS is CAPUUT MORTUM is NIGREDO is SOL NIGER

Existence effervesces in darkness eternal. Pepsi-Chaos — black, dark, yet tangible — is indwelling “darkness visible”. The ‘transcendental object = X’. It is both the liquid grounds of individuation, and the lubricant for the liquidation of all individuals.[note]Pagel: ‘Gas is central to [van Helmont’s] naturalist philosophy and cosmosophy’, as it is the ‘vector of object-specificity, the spiritual carrier of the specific life-plan of an object’. Joan Baptista van Helmont: Reformer of Science and Medicine, 63.[/note] Indeed, Milton stresses this by claiming that Chaos is “one first matter all”: prima materia or massa confusa. In this light, Pepsi-Chaos, as a “first matter” — becoming curiously coeval with and internal to God himself — is significantly problematic. Milton, despite the uncomfortable conclusions of this line of thought, was forced to present it in this way because of the entailments of certain metaphysical commitments he had already selected. That is, as previously mentioned, Milton (thoroughly committed to monism and, consequently, denying any possibility of creatio ex nihilo[note]Denial of ex nihilo is perhaps the base gene of monism: for, if all that ‘is’ is being, nothing can therefore arise from non-being.[/note]) chose to pursue the idea of an ex deo creation (and, in many ways, Paradise Lost plays out as the metaphysical test chamber for this thought experiment). Accordingly, prima materia becomes legible as arising from within God himself. This philosophical decision has some benefits. It averts the logical paradoxes surrounding ex nihilo creation that so disturbed the monist Milton. It also deftly avoids the need to posit the existence of some eternal matter unrelated or external to God, from which he merely fashioned the Creation like a carpenter (which would be perceived as eternalist heresy). The brave experiment of creatio ex deo avoids the Scylla and Charybdis of these two issues only by instead postulating that God created from out of himself (somewhat like a spider weaving silk). The idea of ex deo remained a heterodox philosophical option for exactly this reason: Thomas Erastus, a few decades before Milton, had written that creatio ex deo relegates God’s act of “creationem” to merely a “secretionem”. In other words, it makes resplendent and autonomous creation into a disgusting and bodily secretion: a scatological act of expulsion.[note]Indeed, Erastus was here writing against creatio ex deo in the context of denouncing Paracelsian iatrochemistry.[/note]

Unsurprisingly, interpreters have long diverged on the true position of Milton’s Chaos as an anterior increatum, coeval and internal to the godhead. Schwartz has argued that it is simply resoundingly evil; Rumrich — advocating for a Chaos in intimate somatic unity with God — reveals the possibility of a ‘hermaphrodite’ deity[note]A deity that reflects Paracelsus in their shared hermaphroditism.[/note]; Milton himself, in his De Doctrina, attempts to appear confident that his potentia materia is totally neutral. He describes it as “fonte” and “seminariam” of all things and therefore “not [at all] evil or worthless”.[note]Note here the spermatic resonances in “seminariam”, echoing Erastus’s language of bodily secretions; likewise, notice the fact that “fonte” itself originally referred to naturally carbonated springs.[/note] Milton was probably relying here on the fact that, in many ways, Chaos cannot strictly be said to be evil, because it is itself elder than the creation of Good and Evil. However, despite Milton’s intentions, this does not ‘neutralise’ it. Instead, it lends it an even more anonymous, anomalous and alien aspect. Satan is something we can know and delimit; Chaos is even more fearful because it cannot even be conceived. For, like the divine darkness of the potentia absoluta (which, in the manner of Milton’s antinomian contemporaries, surpasses the very idea of law itself), it cannot even be related to human mental categories (and thus to moral notions). Elder than Good and Evil — elder than Law itself — this is a totally sovereign and impersonal power (not therefore neutrality): indeed, Satan, Evil, and Sin are revealed as merely vectors of this chaotic elder force. One cannot even describe it as ‘evil’, because it is so utterly beyond moral categorisation: it is total and absolute otherness. As “infinite Abyss” and “eldest Night” it is antinomianism incarnate and potentiated. [PL; ii.405, 894.] Chaos comes, through this, to resemble the abyssal ground of God’s fearful omnipotence.[note]It is the ground of his preconscious and abyssal freedom, prior to all the limits of personeity, and against which he comes to limit himself in the act of identity. Of course, this is a route that Schelling would later explicate in his Freiheitschrift of 1809. As we shall see, Milton’s thought is similar to Schelling’s — despite geographic and historical distance — because both were heavily influenced by Jakob Böhme.[/note]

Milton’s confidence in De Doctrina broods over a thinly-veiled repression, because, whatever the ‘nature’ of his Chaos (and, indeed, its nature is to have no nature because nature is nomos and limit-through-identity), it must be one with God. The consequence of creation ex deo is that God must internalise the total alien externality of Chaos. For, in order to avoid positing the eternity of a separate matter and to simultaneously dodge the logical paradoxes of ex nihilo, creatio ex deo entails that Chaos become part of God himself. This crushingly anonymous potency is cast into intimate unity with God: and, with this, Milton inherits a central problem of the voluntarist tradition.[note]Indeed, from the very beginning, the voluntarist splitting of God into absolute power and ordinate power presages the splitting of the self into the unconscious and the intellectual.[/note] It allows for a resident alien: a resident alien that, because it precedes all boundaries, becomes capable of liquidating all boundaries. Bubbling Pepsi is thus revealed as God’s chaotic unconscious, prone to the production of basilisks. Moreover, given the physiological focus of the alchemical tradition that Milton inherited, this chaos-ingestion could not but be envisioned in peptic terms. God’s act of self-individuation — the theogenic shoring up of the limits and distinctions of his intellect and intentions in contradistinction to this unlimited and indistinct power — could only be imagined as a bowel movement. In order to emerge from his chaotic, liquid unconscious, God had first to shit it out. This is the act of “tartareous” Creation described above: God’s “downward purg[ing]” of the “black tartareous cold infernal dregs” prior to the creation of the heavens and firmament. Creation is, thus, merely the excremental by-product of God’s act of self-individuation.

Such ideas are strikingly cognate with the ecstasies of another of Paracelsus’s followers: namely, Jakob Böhme (1575-1624), German mystic and theologian. In Böhme’s strikingly singular description of theogeny and cosmogeny, God comes to know himself as God only by delimiting himself against an internal “Abyss” of “Eternall Nothing”: his Chaotic “ungrund”, as Böhme dubs it.[note]UNGROUND = 186 = COLA XANADU [/note] Prior to this, both God and Chaos were in a state of total and absolute indistinction. For, as Böhme makes clear, if “everything were only one, that one could not be revealed to itself”.[note] Boehme, The Works of Jacob Behmen, the Teutonic Theosopher: To Which is Prefixed the Life of the Author; with Figures Illustrating his Principles, left by the Rev. William Law, M.A, trans. W. Law, iv.Vols, (London, 1764), iii.76. In this way, he prefigures much of German Idealism. Moreover, it is from this tradition that Jung borrows his conception of alchemical prima materia to represent the indifferentiation (indiffrenz) preceding subjectification.[/note] Thus the God accedes to a state of self-knowing only through his limitation against this internal chaotic otherness. It is only through this inner splitting that the chaotic and primordial ungrund filters itself into the dichotomies of Subject/Object and God/Matter that are the sufficient conditions for the possibility of His self-consciousness. Yet, as God emerges to himself — as he comes to know himself — he necessarily only does so by purging the caput mortuum of externality from himself. Thus, the first act of subject-formation arises through an act of hygiene. He does this by setting up the barriers that enforce individuation — by gastrulating himself — and thereby evacuating the chaotic ungrund.[note]INDIVIDUATION = 268 = DISSOLVED SELF = PEPSI COLA CHAOS [/note]

Of course, attuned to the Paracelsian tradition, Böhme could not help but present this in an anal mode. He talks of the excremental “Lump” engendered “[when], between the Firmament and the Earth, [the cosmos] was cleansed from Dregs”.[note]Ibid, iv.108.[/note] For, just as “in the Body” a “Superfluity” or “Excrement” is driven out (via, as Böhme explains, a peristaltic “Inclosure round about it, viz. a Film, or Gut”) and becomes “banish[ed]” through the “nethermost Port”, so too “happened also to the Earth, when the Fiat thrust it out of the Matrix […] upon a Heap as a Lump, seeing it was unfit for Heaven”.[note]Ibid.[/note] Digestion — as an “Inclosure” that blocks out external excess — sets up the Subject only by excrementally purging the inner Chaos: this physiological boundary is directly paralleled by the normative boundary between ‘wrong’ and ‘right’ that generates rationality and conceptual intelligence through discursive “Inclosure”. It should come as no surprise, then, that Böhme theorised that in a pre-lapsarian state (prior to the introduction of Knowledge of Good and Bad into the world), Adam would have required “no teeth or any intestines” (because “no filth accumulated in him”).[note]Böhme, Genius of the Transcendent: Mystical Writings of Jakob Boehme, (Shambhala Publications, 2010), 7.[/note] Epistemic fallibility arises coeval with digestive fallibility (and, as Böhme first discovered, both are necessary conditions of individuality).[note]Milton nods to this tradition of speculation (that Adam did not have a gut or an anus) when he claims that God “did enlarge the universal diet of man’s body” when he made us free (to be right or wrong, in matters both epistemic and eupeptic).[/note] Only with such distinctions does subjectivity emerge from initiation: whether they be conceptual barriers (right from wrong) or the barrier of the “Inclosure” installed by a “Gut” (distinguishing nourishment from superfluity). Once again, we see the reinforcement of Chesterton’s decree that “aerated waters” could only be postlapsarian. Digestion is the cosmic trauma of a fallen world, but also the very condition of individuality within this world. The possibility of erring, in both culinary and moral matters, arises only after the original trauma that arrives from the originary purge of externality generative of the first internality — that is, God himself, when he ejaculated his prima materia.

We can now observe how Böhme’s theories of dyspeptic theogeny perfectly frame Milton’s own excremental Creation in Paradise Lost. Within Milton’s unavowedly monist universe, for God to emerge as a subject he must gastrically individuate himself from dyspeptic chaos. He does this by literally purging the superfluity, in the first act of digestion. Unsurprisingly, just as Milton was familiar with Paracelsus and van Helmont, he was also certainly well aware of Böhme.[note]Nathan Paget, Milton’s close friend and a man of radical speculative inclination [G. Campbell, & T.N. Corns, John Milton: Life, Work and Thought, (OUP, 2008), 321.], appears to have had a “very special interest in Boehme”. [C. Hill, Milton and the English Revolution, (Viking Press, 1978), 493-5]. His library, more specifically, contains an unusually large amount of the German philosopher’s works (some in manuscript form, others printed in the original German, prior to the English translation’s appearance). Hill speculates that it is “most likely” that Paget “would have discussed [Boehme] with [Milton]”. (Moreover, Paget owned 19 works by Paracelsus, 4 by van Helmont, and a couple by Charleton.) Further, Edward Phillips — Milton’s nephew — became embroiled deeply in the mystic’s writings: Phillips worked for the Fifth Earl of Pembroke to “interpret some of the Teutonic philosophy” of Jakob Boehme [Ibid, 493-5]. And, finally, Böhme’s name turns up in Milton’s own state papers. In an address from “Mr. Samuel Herring” to parliament from 1654, “Jacob Behmen” is described by Milton as a “noble minde […] soaring beyond the letter” with “true revelation from the true spirit”. The address even closes by proposing for the opening of academies teaching Boehme’s philosophy in England. [cf. John Milton, Original Letters and Papers of State: Address to Oliver Cromwell, Found among the Political Collections of Mr. John Milton, ed. J. Nickolls, (London, 1743), 99.][/note] The traces of Böhme’s dyspeptic divine ungrund can be found throughout Milton’s writing. Exemplary is Milton’s speculation, in De Doctrina Christiana, upon the relationship between his postulated “increatum” (i.e. “first matter”) and God. For, at this particular juncture in the theological treatise, the poet’s Latin tellingly becomes “awkward” and “barely makes sense” (‘signalling greater troubles […] with meaning’: perhaps flagging, therefore, an indigestion of signification).[note]De Doctrina, 90-1.[/note] One thing sticks out amongst the knotted syntax: an unusually high frequency of verbiage related to ‘emissions’. The language surrounding God’s “Impensionem” (‘giving out’) of base matter betrays Milton’s preoccupation with ‘emanations’. For example, Milton deploys the words “comprimere”, “eimittere”, and “propagare” in proximity (‘comprimo’ sometimes denoting constriction of the bowels; ‘emitto’, likewise, signifying discharge of bodily liquids; ‘propagare’ carrying denotation of disseminations).[note]De Doctrina, 290.[/note] Perhaps the most striking illustration of Milton’s dyspeptic model of cosmogeny and theogeny can be found in De Doctrina’s final words on the relationship between prima materia and deity in the act of Creation. Here, Milton concludes that “materia indigesta modo et incomposita, quam Deus postea digessit et ornavit”. (Which can be translated roughly as: ‘The first matter was in an indigested and disordered state, but afterwards God digested it and made it beautiful.’) Here, Milton — in a manner identical to Böhme — explicitly declares that the relationship between Chaos, God, and Creation is one of digestion: as the “indigest” is said to be “digessit” by the divine.[note]De Doctrina, 290-2.[/note]

All of this can be reduced to a very elaborate response to the voluntarist dichotomy (the chasm between a god who is good and a god who is totally free). One that, modulated through the alchemical tradition, simultaneously generates a notion of a divine unconscious and casts this unconscious as a dyspeptic divine gut. “The soul is a (disobedient) stomach!” For, insofar as intelligence is made out of rules, preconscious and unlimited freedom is better expressed by excrement (that which exceeds regimentation). It all goes to show that even God could never fully assimilate or anabolise the potency he is grounded — and fed — upon. This is largely because it is God: an elder, impersonal, pre-individual, and unrestrained aspect of ‘himself’. It is no coincidence that Schelling, and later Jung, borrowed the language of alchemical prima materia to describe the journey from unconsciousness to subjectivity.[note]The Jungian process of enantiodromia: the procession of alchemical colours, from black nigredo (Pepsi) to white albedo, to yellow citrinitas, to red rubedo.[/note] The upshot of all of this is as follows: Creation is the by-product of the worst dyspepsia imaginable — an indigestion so cosmic that it forced God himself to become self-conscious. It is a traumatic self-awakening that impels God to limit himself against the unlimited and anonymous power of chaos: a delimitation that therefore requires an excremental purging of this chaotic base matter. After this individuating evacuation, God works to impose his intelligible forms upon the excess produced by this purge (Böhme’s faecal ‘lump’), attempting to filtrate and subtilise it (like a master alchemist) into crystalline firmaments and planets… but the “superfluity” lurks, repressed, deep within.

FANTA™ = RUBEDO (as cinnabar)

MOUNTAIN DEW™ = CITRINITAS

CALPIS™ = ALBEDO

PEPSI™ = NIGREDO (as pepsoidal ungrund™)

Screenshot 2017-10-30 01.37.44 — Arcane geometric resemblances are detectable between Böhme’s mystical illustrations of abyssal theogony and PepsiCo marketing logo.

Tomorrow: ‘𝕯𝖊𝖘𝖈𝖊𝖓𝖘𝖚𝖘 𝖆𝖉 𝕴𝖓𝖋𝖊𝖗𝖔𝖘: or, My 🅱elly Consumed My Head’

January 11, 2018

part 5 – cosmic dys𝔭𝔢𝔭𝔰𝔦a & divine excrement: or, an essay unveiling the teleoplexic identity of miltonic chaos, capitalist nigredo and alchemical pepsi cola™

Yesterday: ‘Alchemy to Chemistry: or, the Occult History of Carbonated Beverages and the Secret Origins of Pepsi Cola’

DAY 5. 🅱🅰🆂🅸🅻🅸🆂🅺: Menstrual Chaotics and God’s Ectopic Pregnancy

And so, we see that Caleb Bradham, in both inventing and branding Pepsi, invokes a tradition that stretches directly back to 16^th century iatrochemical experiments. In advertising his product as an ailment for peptic ulcer, Bradham was drawing upon Priestley’s use of carbonation as a cure for scurvy, which — in turn — was an uptake of van Helmont’s discovery of gas and Paracelsus’s pioneering interest in balneological healing. Pepsi thus emerges directly from the alchemical-archeus tradition. Pepsi is alchemical. It also emerges, therefore, from the same tradition Milton used to fashion the metaphysical structure of Paradise Lost, a tradition he was deeply familiar with. Nevertheless, despite the ancient connection between fizz and eupepsia, it does not aid digestion: it makes it worse. Rather than lending us the hyaline peristalsis of the angels — for whom “what redounds transpires […] with ease” — it aggravates purging and superfluity. And so, as Walter Charleton wrote in his translations of van Helmont, “we (as Nature) advance to the DEPURATION or Defecation”: we advance, that is, to nature’s inherently “excrementitious ways”.[note]Walter Charleton, Natural History of Nutrition, Life, and Voluntary Motion, Containing all the New Discoveries of Anatomists and Most Probable Opinions of Physicians, concerning the Oeconomie of Human Nature: Methodically Delivered in Exercitations Physico-Anatomical, (London, 1659), 91.[/note]

With all digestion there must be excrement (just as with all knowing there must be a transcendental barrier). And this applies at the highest level: it applies to the digestive tract of Milton’s cosmos itself, to the very archeus. There is, it seems, some dimension of matter that exceeds even God’s anabolic assimilation into divine forms. Excrement is — ontologically — insuperable. Angels still experience matter that “redounds”; nigredo is necessary for alchemical purification; even the glassy hyaloides are at risk of “depuration” from gutta serena.[note]Indeed, ‘hyaline’ has come — in modern usage — to denote the superfluous matter in degenerative medical conditions.[/note] As we have already glimpsed, the universe of Paradise Lost contains a surprising amount of scatology for a seemingly ultra-Christian theodicy: nature itself lets off two violent barrages of flatus upon the consumption of the Apple’s “intellectual food”. Elsewhere, we see Satan’s ‘anal cannons’: waging “intestine war in heaven” with artillery engines fashioned from the “entrails” of the empyrean, complete with “hideous orifice[s]” gaping “wide” [PL; vi.259, 517, 577]. In Book I, we hear of the “subterranean wind” belching from “thundering Ætna”, whose “entrails […] leave a singed bottom all involv’d / With stench” [PL; i.231‐7].[note]One cannot but imagine that gout-riddled Milton knew all about how a “singed bottom all involv’d / With stench” felt.[/note] This sprawling epic undeniably embeds the poetic traces of the tortured flatibusque that Milton himself complained of. Appropriately, it appears that Milton (probably as his health deteriorated) came progressively to reject his earlier promotion of the ideal of a perfect digestive tract: writing on transubstantiation in his De Doctrina, he explains that “if we eat flesh, it will not remain in us, but (to be utterly frank) after being digested […] will finally be voided”.[note]De Doctrina, 751.[/note] Even holy rituals cause shite. Further to this, we see that this same axiomatic irreducibility of excrement applies to God himself, and his own alimentary canal: i.e. it applies to Creation. When mapped in this way (i.e. within an archeus-inflected cosmological schematic), the axiom of the inevitability of excrement becomes recast as a troubling ability for matter to exceed even divine planning. This arises as a mutation of hylomorphism, one that Paracelsian philosophy encrypted as the idea of ‘chaos’ or ‘tartar’.

Within the ancient Aristotelian schema, ‘matter’ is merely the blank potency of being or non-being that forms take on (this is why it is properly thought of as merely the empty capacity — the receptacle — for accepting forms). It is thus nothing without forms: matter is more of a modal category than any kind of substratum or ‘stuff’. Matter is only actualised with the imposition of forms: which — for Aristotle and later scholasticism — are identical with intelligible structure. As a direct consequence, matter extricated from all intelligibility was entirely unthinkable.[note]This is not the same as idealism of the Berkelian variety (indeed, this was only possible much later). Rather, it is merely the claim that being is intelligible because it itself has a logical or propositional structure. The mutual entwining of actuality and intelligibility.[/note] Matter could not, in this schema, be self-actualising: which is to say that it could not be regarded as fully actualised outside of any relationship with mental categories. In a specific sense, then, all matter was caused by intellectual structures (and could not be thought of as self-causing). Hence, the collocation of matter with passivity or receptivity: an assumption that heavily informed Aristotelian gynaecology, wherein ‘hyle-’ was compared with menstrual fluid (as feminine and passive receptacle) and ‘-morphe’ was compared with seminal fluid (as masculine and form-giving nous). Moreover, it was precisely this tradition that inspired Paracelsus in his (deeply misogynistic) quest to remove the female from the reproductive process through the production of an alchemical homunculus via in vitro incubation: the ideal of an artificial (and, specifically, man-made) lifeform, which would be gestated only from pure seminal nous, thus — so it was thought — unalloyed of all dirty traces of feminine corporeality. Purged of feminised base matter, the male-created homunculus would be a creature of pure intellect. (Paracelsus, it appears, may have actually been a hermaphrodite: hence, possibly, his Promethean obsession with surpassing sexual hylomorphism/dimorphism.)[note]cf. William R. Newman, Promethean Ambitions: Alchemy and the Quest to Perfect Nature, (University of Chicago Press, 2005), 197.[/note]

Nevertheless, aside from closely following the Aristotlean tradition in this gynaecological sense, the 16^th-17^th century iatrochemists were also beholden to subsequent, late medieval developments in the conception of ‘matter’ that had entirely transformed the ontological entailments of commitment to a hylomorphic model. In short, late medieval developments had forged a conception of matter as self-actualised and self-actualising outside of any relation to intelligibility. Thus, it could now finally take on its modern denotation of lethal externality (beforehand, matter could not be conceived of as ‘outsideness’, because — with matter and intelligibility considered as perfectly uniform — there could properly be no ‘outside’ in this novel, modern sense). Only here, with the idea of matter as causing itself outside of mental categories, could it become the alien otherness it is conceivable as today. This potentiated the idea of matter as an ‘outside’.

How did this happen? In short, during the late-medieval fortification of the Christian voluntarist tradition, the scholastic hylomorphic tradition mutated. God was split between the so-called potentia absoluta and potentia ordinata or between his absolute freedom and his constrained intellect — an anonymous and unthinkable/unthinking power and an intelligible and bureaucratic form. The argument ran that the former, the potentia absoluta, could not be constrained by anything… including our ideal categories. As such, it must be conceivable that things could become fully actualised beyond any relationship to mental structure or to conceivability. Thus, where matter was previously only ever conceivable in relationship to mind — and as caused by ideal structures — it now became thinkable as self-actualising outside of any relationship to mind: this is the same as saying that matter became thinkable as self-causing and thus as auto-producing. Hence, the fear of ‘matter without forms’ as something that is self-developing, self-directing, auto-productive, cancerous, etc. The prospect of ‘matter without forms’ transforms from the inert nothing of mere receptivity/passivity to the superlative nothing of an auto-productive zero. In the absence of the top-down anabolism of bureaucratic forms, hyle could switch into malignant self-direction: synecdochal revolt.

This was all a direct consequence of splitting God into an unconstrained power and an ordinate planning: for the crushingly absolute and unconditioned nature of the former smuggles in the ability for things to exceed even the decree of divine planning. God’s uncontrollable Id could recrudesce, dissolving his rightful Mind. Indeed, this likely represents the intellectual historical birth of the modern notion of the unconscious as an internal splitting (alienation). Through this mutation, the collocation of ‘matter and receptivity’ could eventually mutate fully into ‘matter and excessiveness’. With realism (in the full modern sense), matter’s distance from mind inverted from passive nothingness to superlative nothing: not the zero of reality, but the reality of zero. Materiality, by gaining autonomy from intelligibility, became thinkable as anonymous unthinkable power. Crushing anonymous omnipotence. Winnowed from intelligibility as its condition of actuality, matter could now be considered as pure rebellion and revolt against thought (and, thus, also God’s own divine planning). And, emerging from within (immanently), it is rebellion in the precise Satanic sense. Indeed, the fear of auto-production flows from here: matter without forms, exceeding all central planning, all assimilation, all divine eupepsia. Matter as total deregulation. Voluntarist force[note]Voluntarism can carry varying connotations. As a more modern political category, it has carried implications of the limitation of freedom to humanist models of agency. However, in its elder origins in the medieval, speculative excesses surrounding omnipotence, it actually first emerges as a conception in opposition to this later development. Voluntarism as pure freedom, being power beyond limitation, is the destruction of the structures and confines that necessarily delimit and individuate a human subject. Pure power tends towards impersonality. This more eldritch notion of sovereignty is utterly destructive regarding the modern humanist subject, yet, with delicious irony, the former lies at the source of the latter.[/note], defined by its distinction from intellect, accommodates a fear of the Real as self-causing alienness (as something that can exist entirely outside of its thinkability, because it causes itself), thus opening up the way for the horror of synecdochal revolt, as matter becomes self-directing and self-catalytic malignance, looping back into itself and surpassing any top-down rule (be it from Divine fiat, human norms, natural law, or the conditions of its representation and control). And so, matter could become the superlative nothing of an apoptotic hylomorphism rather than the inert nothing of orthodox hylomorphism. (Blindness not as asthenia of sight, but as the excess voluptuousness of darkness visible.) Thus, retrofitted onto the gastrointestinal system of alchemy, we arrive at acephalic excremental revolt. The belly usurps the head. (Just as Pepsi-addiction tends towards living-to-drink, rather than drinking-to-live.)

This heterodox ‘rotten hylomorphism’ was registered variously in the alchemical tradition as tartar, chaos, and nigredo: the excessive and irreducible excrement of the archeus; the blackened, goopy residue left over after fermentative and alchemical reactions. That which exceeds subtilisation or distillation into forms, and yet — as prima materia — remains the unruly condition of all ‘object specificity’.[note]PRIMA MATERIA = 232 = DOUBLE PINCER[/note] Zero becomes both departure and death. Thus, the incessant collocation of ‘womb’ and ‘tomb’ in Early Modern poetics.[note]”Zero is immense.”[/note] Indeed, Paracelsian gynaecology held that, in the absence of male seminal forms, female menstrual fluid would eventually come to feed back into itself and become a runaway self-propelling process of mutative self-development. Menstruation without semen — just like matter without forms — becomes self-feeding chaos. (Again, chaos has now inverted into the overabundance of essences, rather than their asthenia: excess rather than absence.) Arising from folklore tradition, it was generally held that basilisks were the product of wombs that, in the absence of regular male insemination, had looped into runaway auto-generation. Roko’s basilisk is God’s period.[note]Indeed, auto-production — because it is self-causing — is thus intimately tied up with both the demonic (as reproductive nothing) and, also, with temporal insurrection. Pepsi is basilisk-like because, as the avatar of auto-producing chaos, it comes to coerce itself into existence through the looping flows of tartareous base matter.[/note]

This language of apoptotic hylomorphism and chaotic menstrual excess makes its way directly into Paradise Lost, surrounding the crushingly ambiguous and troublingly central figure of Chaos. Milton describes this massa confusa of “embryon Atoms” as “the womb of nature and perhaps her grave” [PL; ii.900, 911]. Zero is tomb and womb. Material zero, as self-looping overabundance, is excess rather than receptivity: granted total autonomy from mentality, matter becomes self-causing (just like demonic zero). In Comus this is described as the “waste fertility” of an overflowing and superfluous Nature.[note]Comus, in Milton: The Complete Shorter Poems, ed. J. Carey, (Longman, 2007), ll.728.[/note] And this links directly to Milton’s extreme denial of ‘nothing’: for, in saying that nothing cannot be no thing, Milton unwittingly galvanises and evaginates it, making it into a powerful something, mutating baseline 0 into an overwhelming ontological force. He writes, in De Doctrina, “darkness was by no means nothing”:

[for if] darkness is nothing, then God surely created nothing by creating darkness, that is, he did and did not create, which is a self‐contradiction.[note]De Doctrina, 289.[/note]

Nothing can’t exist; even purest darkness is something. Thus, the necessitous nature of the infamous “darkness visible” [PL; i.36]: lacunae are excess not absence; violent externality not inert passivity. This even applies to blindness (via its direct connection to flatulence and excrement). Milton describes his blindness with the language of superfluity rather than absence. In the letter to Philarus, Milton writes that, as his

sight was completely destroyed […] abundant light would dart from my closed eyes [and] colours proportionately darker would burst with violence and a sort of crash from within; but now pure black, marked as if with extinguished or ashy light, and as if interwoven with it, pours forth. Yet the mist which always hovers before my eyes both night and day seems always to be approaching white rather than black.[note]De Doctrina, 867-71.[/note]

This aggressive blindness literally is darkness visible. (Significantly, Milton claims that even “pure black” tends, in his failing eyesight, towards “white”, and indeed, at the time, it was known that white was the accumulation of all of the spectrum.)[note]Spinoza, who specialised in ‘glassy essences’, wrote that “a white surface [is one] which reflects all rays of light”. Spinoza, The Correspondence of Spinoza, A. Woolf, (Russell & Russell, 1966), 393.[/note] Thus, seeing everything paradoxically includes within itself total blindness (insofar as seeing everything includes ‘seeing’ nothing, staring straight into the void). The ‘truth’ of sight is blindness, just as the lethal dose of life or truth is death. As such, it is telling that even in Milton’s early optimistic descriptions of perfect perceptive-digestive assimilation, the implication of scatological excess is not far away: the epistemological purity of “Elegy V” is smeared by the poet’s mention that, in seeing everything, he also sees the “Tartara caeca” — ‘caeca’ denoting ‘unseen depths’, but also the ‘blind gut’ or ‘large intestine’.[note]”Elegy V”, ll.20.[/note] Indeed, as we are about to see, “tartar” holds a special place in both Miltonic and Paracelsian cosmology as the rebellious shite of the universe. Nevertheless: because nothing is not a negation but a superlative, even blindness is a special type of seeing: it is seeing too much, it is looking straight into the blinding darkness of the universe’s tartara caeca, the appropriately named blind gut — the solar anus[note]PEPSI CHAOS = 201 = SOLAR ANUS[/note] — of the cosmos. Milton, in short, blinded himself because he looked too far into the fizzing, dyspeptic nigredo of Chaos.

And so, we arrive finally at Miltonic Chaos. Chaos is the ultimate hypostatisation of the auto-productive tendency latent within matter: the tendency to metastatise into its own self-selecting end-orientation — rather than the holy direction of divinely-sanctioned totality — thus coming more and more to threaten the primacy and integrity of the ‘host’ whole. Chaos is ontological cancer and crap. As Milton decrees, it is “neither sea, nor shore, nor air, nor fire / But all these in their pregnant causes mixed” and it is likewise simultaneously “strait, rough, dense, or rare” (Chaos fizzes) [PL; ii.912-3, 948]. Again, it is ontological overabundance not ontological paucity. As such, whilst wading through this superseding elemental indigest, Satan simultaneously “swims or sinks, or wades, or creeps, or flyes” — there is no medium-specificity here [PL; ii.950]. Qualities and essences overflow rather than withdraw. Thus, despite being hermeneutically linked with ‘ontological deficiency’ (because of its position as an allegorical figure), Milton’s Chaos is total superfluity. Chaos is the excremental pregnancy — the menstrual chaos and “waste fertility” — of God and Creation: the excrement of the cosmic archeus, it is that which fails to be incorporated (digested) into the happy hylomorphism (the agreeable working of the stomach-soul) within God’s intestinal system. Chaos as cosmic dyspepsia.

For Paracelsus, any archeus’s excrement is something called “tartar”. For, upon inspecting the black, thick, putrefied deposits inside wine casks (called ‘tartar’, ‘argol’, or ‘lees’), Paracelsus saw a tangible analogy for Chaos itself. The product of fermentation (i.e. digestion), wine lees was an alchemical analogy for universal excrement. It would come to be deployed by Paracelsus as symbol for the indivisible remainder of digestion. Accordingly, as physician, Paracelsus diagnosed this necrotic, blackened matter as the same stuff that built up within bodies and caused mortality (namely, in intestinal ulcers, gallstones and other such maladies). This tartar — whether in wine casks or human guts — came, ultimately, from what Paracelsus identified as the “superfluity” of all matter. For Paracelsus, following the tendency of a rotten hylomorphism, matter both in metabolism and perception always exceeds. Keeping this in mind, we now turn to the moment of Creation itself as depicted in Paradise Lost. Here Milton describes how God “as with a mantle did invest” the “rising world” as he comes to separate it — via divine dialysis — from the “waters dark and deep”, from the dark liquid abyss prior to creation. Just as the alchemists had done incessantly before him, Milton cannot help but give this watery filtration a gastric-scatological twist.

His brooding wings the spirit of God outspread
And vital virtue infuse’d, and vital warmth
Throughout the fluid Mass, but downward purg’d
The black tartareous cold infernal dregs [PL; vii.235-8]

(Note that “vital warmth” was associated, in the hylomorphic-gynaecologic tradition, with the formative and nous-giving sperm — as contradistinguished from the “cold” base matter of menstrual hyle.) The implication here — via the deployment of the Paracelsian word “tartareous” to describe the “infernal dregs” — is unavoidably excremental.[note]In his edition of Paradise Lost, Flannagan annotates this passage claiming divinity ‘seems to excrete the regions of Hell’ (545). Fowler, in his edition, disclaims it as ‘not scatological’ (403), following Kerrigan; Kerrigan, however, does indeed admit it as ‘fecal’, ‘excremental’ and ‘in the anal mode’, in The Sacred Complex: On the Pyschogenesis of Paradise Lost (Harvard University Press, 1983), 69.[/note] Indeed, others amongst Milton’s contemporaries, those also schooled in iatrochemical lore, had reached similar conclusions: Thomas Tymme had reported that Moses “tells us that the Spirit of God moved upon the water” and therefore by “God’s Halchymie” the “corrupt stinking feces, or dross matter” was brought, in a digestive process of filtration, to the “christalline cleernes” of the firmament.[note]Thomas Tymme, The Practise of Chymicall, and Hermeticall Physicke, for the preservation of health. Written in Latin by Iosephus Quersitanus, Doctor of Phisicke. And translated into English, by Thomas Timme, minister (London, 1605), i.[/note]

God shits out the creation.

gooopypesi — Pepsoidal Nigredo / Modern Alchemy

There is simply no way that Milton would have been unaware of the resonances he was weaving here. For Milton would have known all about tartar due to his own physical ailments. Contemporary medicinal understanding held that ulcers were tartareous growths: ontologically adjacent to the superfluities left over from fermentations. Paracelsus himself was a prolific and influential writer on this topic: for him, ulcers — like Satanic revolt — were malignant excrescences of auto-production, of synecdochal usurpation (as such, Milton would have understood his microscale splanchnic putrefaction in much the same way as the macroscale ‘intestine strife’ of heavenly revolt). As already explored in this series, Milton likely had a peptic ulcer. Moreover, a major symptom of this deadly ulcer would have been ‘melena’: the “passing of dark tarry faeces” containing blood.[note]OED.[/note] Identical in appearance to the wine tartar or ‘lees’ found in the bowels of brewing vats: the muck that Paracelsus had nominated as symbolic of the chaotic nigredo of creation. Thus, one must emphasise the striking fact that Milton — no stranger to ‘tartareous’ faeces and the medical literature surrounding it — chose to describe the very act of Biblical Creation as itself “tartareous”.

Significantly, in the chronotemporal layout of Paradise Lost, this cosmogenic bowel evacuation precedes Genesis’s separation of the waters. The vitreous filtration, then, was preceded by divine diarrhoea. Milton, elsewhere, writes that the hyaline separation was a “mere minister” of Creation, for “the spirit only brooded on the surface of waters which had already been created”.[note]De Doctrina, 287 — my emp.[/note] Thus, we note that nature’s crystalline aspect is ontologically posterior to its faecal aspect — just as Crystal Pepsi was merely a camouflaged version of the obsidian original. As such, the core paradox arising from the laws and fundaments of Milton’s miniature universe comes into full focus: all things — even the seemingly perspicuous firmaments — are sedimented, condensed, or coagulated out of base Chaos. With an ambiguity that resounds throughout his entire universe, Milton presents his Chaos as equally antecedent and as equally infinite as God: this “infinite Abyss” [PL; ii.405] is “Ancestor […] of Nature” [PL; ii.896]; and as “eldest Night” [PL; ii.894] it is properly the “Womb of nature” [PL; ii.911]. And so, we have located this as the originary trauma attendant upon the internal workings of Miltonic cosmogeny and metaphysics: this is the secret of the Miltonic chronotope. Beginning in an excremental ‘purging’ of tartareous prima materia from the godhead, the universe forever encases within itself the excessive capacity of matter: that which refuses (and routes around) imposition and regimentation. As such, the default state of matter is not obedience or formfulness: the gut floras of creation do not harmonically “sing their great Creator” by default, but only by the coercion of constant stratification. The default state of matter is usurpation and escape (hence, the constant risk of ontic synecdoche). And this means that the risk of chaotic relapse quivers at all ontological echelons as indwelling potency. Consequently, this process of divine digestion is continual and unceasing. Because Chaos is the baseline and default, God must keep anabolizing the “Lump” of increatum in order to stop it relapsing into primordial formlessness. Thus, excretion and dialysis are condemned to inexorability.

This can be seen in Milton’s depiction of Limbo as an immune-sewage system for the tumours of hylomorphism. That is, all the excessive and teratological forms of the world pass through Limbo — as the colon of Creation — before being excreted into the Outside. All “unaccomplished works of nature’s hand / Abortive monstrous or unkindly mixed / Dissolved on earth” pass into Limbo, as Milton envisions [PL; iii.455-7]. Moreover, Limbo is contiguous with Chaos as the nethermost port of Creation: described as a “boundless continent” with “ever-threatening storms […] blustering around [PL; iii.425-6]. And, as such, its purpose is clearly to crap out all the destabilizing matter needing to be excreted from right creatio. As such, Limbo is seen to contain a peristaltic procession of “embryos and idiots”, alongside Enoch’s Nephilim, born of ancient miscegenation “betwixt the angelic and human kind” [PL; iii.462]. Continuing the deep connection between metabolism and epistemology, Limbo also therefore contains theological and philosophical excrescences too: “relics, beads” and “dispenses [or] bulls” are farted out by the “violent cross wind” [PL; iii.489-92]. (Limbo, thus, is a cosmological limbic system: it filters out dangerous forms and ejaculates them into chaos.) These internal specters of chaos-relapse are pushed outwards, and they “pass the planets seven, and pass the fixed” [PL; iii.481], before their “abortive” purge into the Outside. This is the anus of the universe. As such, we see how everything — at all ontological levels — expresses the potential to collapse back into effervescent, liquid blackness. In short, the matter of Chaos’s “outrageous […] sea” is imposed with God’s forms to become the eupeptic “crystalline ocean” that we witness as the “new-made World”, and yet the “extremes / Contiguous” will always loom underneath [vii.212, 272–3]. (Identical, again, to the fact that consumers could taste that Crystal Pepsi was a lie because the taste of saccharine blackness lurked beneath perspicuous appearance.) It is the cosmic unconscious of ontological dyspepsia — the “tartara caeca” or “blind gut” — rumbling and gurgling beneath the glassy “hyaline”: and, like “Acheron”, it is “black and deep” and fizzy [PL; ii.578]. Quite simply, Chaos is not defeated but only temporarily repressed by the forms of divine central-planning: like a liquid or a gas under pressure it always struggles to release itself and to fizz forth from the depths.

So, we turn, once more, from the birth of the cosmos, back to the bubbling birth of Pepsi Cola. Immediately, one notes the resonances between the wine tartrates that Paracelsus describes and Pepsi-Cola: blackened and tartareous, wine lees were often also sugary and sweet. Certainly, it has become a memetic contagion of late to unveil this viscous blackened mass as the true state of Pepsi Cola (YouTube videos abound depicting the results of boiling cola).[note]https://www.youtube.com/results?search_query=boiled+in+pepsi[/note] As a form of modern alchemy, one ferments the cola into a similar chemical state as the tartrates that inspired Paracelsus to describe the “superfluity” latent in all matter. Subsequently, we note the crucial fact that van Helmont first discovered carbon dioxide — thus initiating the chain of events that led to the invention of Pepsi Cola — precisely by studying tartar. Spurred on by Paracelsus’s obsession with this particular substance (and the centrality it came to enjoy in his mentor’s metaphysics), he studied at great length the fermenting process of wine. Observing the emanations from wine vats, he first came to the conclusion that they were releasing “gas sylvestre”. Thus, just as Priestley would later invent soft drinks through studying the fermentation process of beer, carbonation was first discovered by van Helmont through his inspection of the ferment of wine.[note]Indeed, beer brewing produces an equivalent tartrate substance to wine lees, referred to as ‘trub’.[/note] Pepsi’s discovery arises out of tartareous muck. And the occult synchronicities continue to surge backwards as Pepsi-Chaos loops into its own historical creation: for the very word ‘gas’ derives directly from ‘chaos’.[note]SOFT DRINK = 197 = PRIME CHAOS [/note]

Because of the link Paracelsus had made between tartareous ferment and the prima materia, van Helmont — from the very beginning — connected carbon dioxide and carbonation with chaos. To carbonate something was to impregnate it with a chaotic essence. And accordingly, ‘chaos’ is invoked in ‘gas’ through the phoneme ‘g’, which in van Helmont’s native Dutch sounds exactly like the ‘kh’ in the Greek ‘khaos’.[note]It also shares resonances with the word ‘geest’ or ‘geist’ (for spirit or ghost).[/note] (Furthermore, it holds resonances with Dutch words for fermentation.) With this coinage, van Helmont meant to signpost the fact that CO2 gas is — precisely — chaos. Thus, the relation to chaos and indigestion is philologically embedded within the word ‘carbonation’. For, as we have already seen, ‘indigest’ was itself an ancient substantive for chaos. Moreover, ‘chaos’ itself — coming from the Greek verb ‘to yawn’ — is related to Indo-European roots for the term ‘gape’: echoing the orifices that pumped the world with excremental entropy-chaos in the first place. Helmont continued to deepen this link, explaining that his “gas” is a form of “halitus”: meaning ‘wind’ or ‘emanation’, from which our term ‘halitosis’ derives. Chaos thus refers not only to prima materia but also to the gassy emanations of gaping orifices. Excrement is chaotic; chaos is excremental. “Every flatus in us is a wild Gas”, he wrote, “stirred up by digestion from meats, drinks and excrements”. Carbonation — the secret behind soft drinks — is originally discovered through alchemical study of the chaotic effluence of the cosmos. In naming Pepsi Cola after dyspepsia, Caleb Bradham was ventriloquised by this rich tradition that arcs back across occult history.[note]CALEB BRADHAM’S DRINK = 307 = PEPSI COSMOGENY[/note]

Thus, we are forced to conclude that Pepsi is intimately related to the Chaos of Milton’s Paradise Lost (sharing their genesis and inspiration in the gastric-iatrochemical metaphysics of Paracelsus and van Helmont), and insofar as both Pepsi and Chaos are auto-productive, they allow for the temporal looping (auto-production tends towards self-causation, which is a form of retrochronic exchange) that reveals the occult retrocausal pathways, opened up to us via this alchemical knowledge, by which Pepsi ventriloquises Miltonic Chaos, just as Miltonic Chaos prefigures Pepsi.

Tomorrow: ‘Sugar & Zero, Milton & Böhme: the Dyspeptic Abyss of Theogony’

January 7, 2018

part 1 – cosmic dys𝔭𝔢𝔭𝔰𝔦a & divine excrement: or, an essay unveiling the teleoplexic identity of miltonic chaos, capitalist nigredo and alchemical pepsi cola™

by pps

“The fully enlightened earth radiates PEPSI triumphant.”

—Source unknown

“The Pepsi ethos has evolved over time. The vocabulary of truth and simplicity is a reoccurring phenomena in the brand’s history. It communicates the brand in a timeless manner and with an expression of clarity. Pepsi BREATHTAKING builds on this knowledge. True innovation always begins by investigating the historic path. Going back-to-the-roots moves the brand forward as it changes the trajectory of the future.”

—Arnell Group, Breathtaking, Design Document, 2008[note]https://www.goldennumber.net/wp-content/uploads/pepsi-arnell-021109.pdf[/note]

“Some years ago, on a stormy night in New Haven, I sat down to reread [Paradise Lost] … And while I read, until I fell asleep in the middle of the night, the poem’s initial familiarity began to dissolve … Although the poem is a biblical epic, in classical form, the peculiar impression it gave me was what I generally ascribe to literary fantasy of science fiction, not to heroic epic. Weirdness was its overwhelming effect.”

—Harold Bloom[note]The Western Canon, (2004).[/note]

“Yet he who reigns within himself, and rules
Passions, desires, and fears, is more a king;
Which every wise and virtuous man attains:
And who attains not, […]
Subject himself to anarchy within”

—Milton, Paradise Regained, ii.457-62

DAY 1. THE PEPSOIDAL FALL: Pepsi & Teleoplexy

Early in November 2017, fisher Karissa Lindstrand dredged up a lobster off the coast of New Brunswick, Canada. The crustacean had a Pepsi logo prominently tattooed onto its propodus, or claw. Precisely how this logo came to be there remains a mystery: when the event made the news, marine biologists instantly disagreed as to the provenance and occasion of the marking. The mechanisms of imprinting are largely irrelevant, for we instead read this event in a deeper, properly world-historical light: this decapod pincer represents a mere moment in a far vaster process, one spiralling outwards in both time and space… The following (an essay split into 7 sequential parts) is, in many ways, an attempt to fill in this story, as it provides context to the unnerving singularity of recent events such as a sigil-branded lobster from the deep.

“The four rivers of Eden were milk, water, wine and ale”, wrote G.K. Chesterton, “[a]erated waters only appeared after the Fall”.[note]G.K. Chesterton, A Gleaming Cohort: Being Selections from the Writings of G.K. Chesterton (Methuen, 1926), 6.[/note] Pepsi, in other words, is irrecusably Fallen. Fizzy drinks are beverages for a postlapsarian world. Why, however, does Chesterton choose soft drinks, of all things, to signify this? Because, putting it simply, Pepsi and its ilk operate perfectly as metonymy for capitalisation. Moloch’s sugar-infused reign and the biblical Fall are teleologically married. Put more strongly, Capitalisation and the Fall are identical. Why? Because — as shall soon be made clear — capitalism, just like the Fall, functions according to a logic of predestination. Via mereological usurpation, soft drink comes to stand as synecdochic totem for global capitalisation itself, and, as such, Chesteron’s aphorism can be retrochronically grasped as masterfully encrypting vast and panoramic truths, ventriloquized by the tractor of powerful world-historical forces. Why should this be the case? Because the very fact that Pepsi works so adeptly as a synecdoche for capital alerts us to the infernal — and thus fall-generating — essence of capitalisation itself. Synecdoche — at its most basic — is an acute destabilisation between Part and Whole, and thus also between Means and Ends.[note]Mereologically speaking, parts are subordinate because they are means towards the upkeep of the whole, which is therefore the end.[/note] It accordingly represents a co-option of Ends (the Whole) by what was once merely a Means (or, Parts). Synecdoche subverts the direction of the hierarchical relationship whereby parts serve as mereological means towards the whole-as-end. Thus: synecdoche is a metastasising of Part into its own tumorous Whole (which, therefore, comes to threaten the integrity of the parent Whole). Such synecdochal operation is essential to the nature of capital itself, whereby means (here the utile quenching of thirst) mutate into ends-in-themselves (global Pepsi-production, Pepsico domination), via a positive-feedback process of rigorous self-selection (Pepsi wants itself). The restricted economy of hydration haemorrhages into a generalised economy of interminable fizz, and, through an inflammation of supernormal stimuli (exaggerated sugar content tending to fixation and addiction amongst abstract Pepsi’s host-organism), soft drinks come to progressively shed the functional camouflage of thirst-quenchers and medicinals that guide them — trojan-like — into the world.

In 1904 (just a year after Pepsi-Cola was trademarked), Gillespie’s Natural History of Digestion had already pinpointed this inclination: the “[s]timulation of the appetite with highly-flavoured foods diminishes the natural [relation between food and sustenance or means and ends]”, tending instead “towards living to eat instead of eating to live”.[note]Alexander Lockhart Gillespie, The Natural History of Digestion (W. Scott, 1904), iii.[/note] It is capital’s very inherent nature to perform this part-whole destabilisation: this is why Chesterton’s Pepsi-synecdoche so perfectly encapsulates capital even as it occludes capital-as-such behind a subsidiary part, set behind subset (indeed, to stress the point, it captures it perfectly not in spite of this occlusion, but because of it). Thus, we see how the means-ends subversion inherent to capital is inherently infernal, in a very specific sense of the term. Synecdoche represents a mereological revolt, just like the original Satanic revolt (wherein a subset — i.e. the rebellious angels — metastasises to challenge the whole — i.e. empyrean rule). It is the hypertrophy of a part into its own pseudo-whole, causing a resultant antagonism between ‘satanic tumour’ and ‘divine host’: when the immanent (the lower and derivative), by coming to cause itself (Satan’s feigning of freedom), begins to simulate or feign its own transcendence (sovereign autonomy), therefore coming to compete with (and potentially usurp) its own ‘ground’ of production. It is, at heart, a self-causing reversal of metaphysical hierarchies. Demonic revolt is ontological cancer, malignant synecdoche. God’s divine rule, or human social relations, are effectively usurped by the cancerous pseudo-ends of a catalytic part: demonic insurrection, or, sugar-bent carbonation. Synecdoche, as breakdown of the unidirectionality of strict top-down rule,[note]It is mereological disruption: collapse of the hierarchical (and metaphysically suspect) distinction between Whole and Part or Ends and Means, folding them into feedback as opposed to supremacy. In this way, Satan — and the Fall triggered by this — can be understood as cybernetic events.[/note] is thus an alluring model for cybernetic runaway. Capitalism’s own logic is hence one of synecdochal usurpation. In this sense, all Capitalism tends towards Pepsi-Capitalism: as it progresses simply as the replacement of top-down goals by hyertrophying sub-routines; and this is why it is an inherently inhuman — thus infernal and demonic — project. God’s encephalic executive function swarmed by cerebellum supestimuli.

But the connection between Pepsi, Capitalisation, and the Fall runs even deeper. This usurpation tends towards auto-production: it can be understood as the process whereby a means becomes an end-in-itself. This is triggered when a part comes to cause itself (thus, satanically breaking away from its dependence on the original whole); which is, in turn, identical to pointing out that it progressively comes to predestine itself, via its own auto-installation of a logic of circular causality. Part-whole subversion is the same as predestination. In the sense that Pepsi is Fallen it is also therefore predestined. Following from Reformed Orthodoxy’s doctrine of ‘supralapsarianism’, the Fall — and all its causal derivatives and ramifications — became cast as an intra-temporal event that nevertheless entails itself from outside of time (something within time that comes to structure time itself from without).[note]The Reformation staged a conflict between so-called ‘infralapsarian’ and ‘supralapsarian’ conceptions of Predestination. Election and Reprobation either arises from within time (infralasparian), or it structures time from without (supralapsarian); either creation logically entails predestination, or predestination entails creation. Unappeased with this binary, one seeks to diagonalise the decision: thus, we believe that the Fall is both ‘infra–’ and ‘supra–’ temporal. In other words, the distinction between the two doctrines becomes one of complex feedback — rather than contradistinction or mutual exclusion — as we come to realise that the ultimate extra-temporal ‘End’ constructs itself from within time, via memetic and cybernetic vectors, before subsequently dragging eventualities towards its own completion. This is identical with the pars-pro-toto revolt constitutive of the term ‘Pepsi-capital’. Moreover, it is the fear of such auto-production that — as we shall see in the following — John Milton was so prophetically attuned to.[/note] Capitalism, likewise, represents a similar kind of self-installing predestination: as a real teleology (a self-intensifying process that accordingly reifies its own ‘destiny’ as a real causal force), one that relentlessly exceeds the top-down, central planning of divinity via its tendency towards demonic synecdoche. This headless teleonomy echoes, therefore, the Fall considered as an event that is predestined with precision but arises — for torturous, even schizoid, ethical reasons — orthogonally to God’s putative ‘goodness’. In Chesterton’s gnomic phrase, Pepsi and the Fall thus become entangled in a mutually-enforcing prophetic structure: whether he knew it or not, he was invoking the fact that both are forces of destiny and thus also agents of temporal distortion. To explicate: Pepsi operates so well as a metynomic placeholder for capital because — just like the Fall — it becomes its own effect and its own cause.[note]On the view of reformed theology, the Fall causes itself within time because it was determined from the end of time.[/note] It causes itself in a bootstrapping process that is revealed as an effect of the future on its own past: retrochronic projection, or temporal anomaly. Again, like the Fall, it is an event within linear time that is caused (or comes to cause itself) from without. Along with the Fall and Calvinist double predestination, Pepsi becomes its own telic destiny, by progressively installing the means of its own propagation. Auto-production is indistinguishable from predestination which, in turn, is indistinguishable from temporal non-linearity.

Interfacing with the CNS from the future, abstract Pepsi causes present addiction: the bio-physiological translation of predestinal logic. Condemning us to desire by making us desire further condemning. It becomes real-world prophecy, or atheological predestination: Pepsi-capital inundates the world with a marketing-deluge of Noachic proportions, dragging itself towards the installation of an end-oriented logic of aggressive self-propagation. Lock-in ensues as PepsiCo constructs its own pathway towards its own future and Supernormal Stimuli Take Over. Like a satanic cuckoo, Pepsi-production co-opts the better angels of our nature, flooding normative and decisional structures — even evolutionary purposiveness — with effervescing blackness. In other words, the belly overthrows the head (as we shall see, another perfect model for demon revolt). Thus, the metynomic role the “aerated waters” play in Chesterton’s invocation (as symbolic interface between Capitalisation and Fall), comes to communicate the structure of an intestinal revolt that also captures the workings of auto-productive predestination. Chesterton’s metonym rhetorically encapsulates the essentially acephalic and auto-productive nature of Capital; and, insofar as Capital is auto-productive, it consists in a temporal anomaly (because it comes to cause itself). In other words, it seeds telic forces and becomes its own destiny, just like the Fall (as envisioned post-Reformation). It is an event within time that nevertheless comes to organize the structure of time itself. And so: both the Fall and Capital, through their worldly manifestation in Pepsi Cola, consist in a form of temporal interference. By announcing that Pepsi is Fallen, therefore, one acknowledges, accordingly, that Pepsi invents itself from the future.

When observed from the perspective of synecdochal usurpation and the attendant circular causality of self-selecting replication, Pepsi is installed as the true Subject of World History. It becomes the immanent end towards which history tends. Certainly, teloi do not have to be transcendent or sanctioned by divine decree; teloi can install themselves (via a dynamic of self-selection and lock-in).[note]This is also how intratemporal events can come to shape the extratemporal arrow of time.[/note] Satanic revolt is the extension of competition to teloi or transcendences: it is when ‘the Lower’ comes, via its own resources, to mimic or dissimulate its own form of ‘the Higher’; and, since mimicries can become as good as the prototype, or, alternately, simulacra make themselves real, this mimicry eventually comes to directly compete with the original transcendence. Once various options exist, competition sets to work. Facsimile competes with and potentially usurps prototype: this process applies to deities as much as cuckoo hosts. Satan denotes a parasite transcendence. Demon revolt thus flags the story of how transcendences can be manufactured immanently, and the subsequent problems this holds for the prototype. Pepsi’s auto-production, therefore, is ‘satanic’ exactly because it represents this same threat with regards to the comparative ‘divinity’ of human goals, norms, and ends (infernal cola vs anthropological central-planning; intestine vs encephalon). Thus, as Pepsi falls together from the future the occult signs of this temporal interference (self-assembly) are registered as symbolic resonances within the domain of world-historical figures and works — by those particularly sensitive to the cross-currents of temporal complexity. Insofar as the Reformation re-invented soteriology it also re-invented time; insofar as it re-invented time it also (famously) unleashed market capitalism and, thereby, also untold teleonomies. It should be no surprise, then, that the signs of templex autopepsia are strewn throughout the works of that greatest poet of Reformed Christianity, John Milton.[note]MILTON = 137 = LUCIFER[/note] Just as the pious Calvinist detects signs of extra-temporal reprobation in her intra-temporal “works” (i.e. deeds and actions), the signs of self-assembling and end-orientated Pepsi are littered throughout Milton’s magnum opus, Paradise Lost. When considered from the standpoint of modernity and capital’s nonlinear temporality, the poet’s premonitions of Pepsi-Chaos can be considered as both causes of what happened afterwards (as upstream nodes of cultural influence that helped enforce Protestant capitalogenesis) and also as effects of what happened afterwards (as the retrochronic scars of predestinal attractors). These premonitional markers take the form of a complex knot of imagery that connects alchemy, digestion, and chaos theory to the occult historical origins of carbonated soft drinks.

Chesterton is correct to note that fizzy drinks could not have been found in the four rivers of Eden. As any sensible person knows, something cannot be discovered within the world before the world invents or produces it. Nevertheless, as long as intratemporal (intralapsarian) cola is ‘predetermined’ it is also therefore supratemporal (supralapsarian, or, arising from outside of linear time, and shaping it from without). In other words, even if Pepsi could not have existed in Eden, we may find it elsewhere — beyond sublunary domains. And so, in Book II of Paradise Lost, Milton describes the four rivers of extratemporal Hell:

Of four infernal rivers, that disgorge
Into the burning lake their baleful streams [PL: ii.575][note]Quotes from Paradise Lost, ed J. Carey (Longman, 2007). Henceforth abbreviated to ‘PL’, and with reference to Book Number (numerals) and Line Reference (number).[/note]

One of these streams, “Acheron”, the tartareous river, is witnessed as “black and deep” [PL: ii.578], suggestively redolent of the Pepsi Cola that would be invented only later (if such temporal deixis makes sense ‘outside’ of earthbound time) from “[a]erated waters” and “after the fall”. Tartareous, black, and deeply sugary, Pepsi’s world-historical auto-production (in particular, its alchemical historical genesis) undergirds Paradise Lost’s metaphysical schema. In the following, we will uncover these templex crosscurrents between Pepsi-Cola and Paradise Lost, to discover Pepsi, like Acheron, bubbling darkly beneath the verse: a cola Alph, flowing to a sunless sea. For, as we shall see, Milton’s poem is informed by a deep-set horror of auto-production, and he assigns a central — if repressed — role to the chaotic and excessive tartar of the universe: that which eternally revolts against divine-planning through a form of cosmic deregulation (or indigestion). This auto-productive element fuctions, as we have seen, not just as demonic insurrection but also, crucially, as a temporal one too. Indeed, demons are self-producing, like the zero that creates number from nothing (“My name is legion for we are many”), and thus they can persuasively be taxonomically classified as, in essence, agents of temporal distortion.[note]Think of the possessed demoniac whose splintering personality is multiplied by the malignant zero of the invading demon. “We are many”. Why is the demon here a ‘zero’? Because it is ontologically poor: it cannot exist without a host (much like numerical zero only comes into focus in relation to the number line), and is thus nothing outside of its possession of something else. It is thus a nothing, or cipher, that refracts a person into a schizoid many; and is similar to ex nihilo production (the hallmark, we stress, of chaos and infernality, and also of bootstrapping auto-production).[/note] Inasmuch as Milton’s epic is ‘about’ demonic auto-production it troubles the very notion of ‘aboutness’ itself: with a circumvoluting cyclicality whereby the poem only becomes ‘about’ what it is about — later on — after it has produced its own subject and summoned it forth into reality. (Milton’s tartareous auto-producing Chaos eventually ‘becomes true’ under the figure of end-oriented Pepsi Cola and, correlatively, Miltonic Chaos retroactively comes to be ‘about’ Pepsi.) It’s not ‘about’ anything that it doesn’t subsequently itself create. In simpler terms, because the poem concerns itself with auto-production it can be ‘about’ things that are entirely distal from it, in the causal, linear order of revealed history. As such, we pick up the interference patterns of temporal-looping through the fact that Milton’s figure for auto-production — Chaos — is itself deeply semantically entangled with the actual historical roots of Pepsi Cola. Here, again, cause and effect become reversible: Pepsi retrocausally interferes with the shape of Milton’s verse, just as Milton — prophet of Pepsi-chaos — instils a forecast that makes itself true in the form of this ultimate postlapsarian product. It is this looping that Chesterton picks up on. Pepsi and the Fall? They cause each other.

One pauses, and is suddenly struck with a vision: The Earth opens up and seeps fizzy pop. The carbonated fountains of the great deep break open. End-oriented teleoplexic history reveals that the world was created merely to spew forth Pepsi: everything else was merely a means to this end. They call it the 𝖕𝖊𝖕𝖘𝖎𝖈𝖑𝖎𝖕𝖕𝖊𝖗. Pepsi, as cosmic alchemical baseline or sugary-blackened-Nigredo, is the Alpha and the Omega, and all other conceivable ‘ends’ (human will, desire, values, Promethean ambitions) are merely camouflaged ‘means’ for the shooting forth of Pepsi from the great internal fountains of the Earth. The springs of terrestrial history weep black liquid sugar. Tears of Pepsi trickle from the empty eye-socket of an anorganic God, a cosmic visage pulled back into sugarrush rictus. This time there is no Noah and no ark. Everything drowns in obsidian sluice. Glucose high; glucose crash. John Milton — blind prophet, blind to his own prophecy — announces this, our fate, from Anno Domini 1667.

Tomorrow: ‘Day 2. Crystal Pepsi / Crystal Hyaline: or, How to See with your Gut’