War has arrived into the streets of Paris once more, the revolution’s darkened version colliding with the fractal expansion of difference, filling the eerily symbolically named streets of Place de la Bataille-de-Stalingrad. LIBERTY LEADING THE %%%+REG Fatal System Error ++!!!!!!+/+/“PEOPLE.”
Towards the end of his book on Henri Bergson, Deleuze mined from the philosopher’s work a spectral prefiguration of the people-to-come: the faint traces of an emergent and enigmatic open society, a “society of creators” and ‘privileged’ souls connected together by an imperceptible circuitry. Standing atop a grand, abstract summit, the open society derives its name not only from its differentiation to the closed society, but through that which it opens onto. The open society moves in the direction of what Bergson had called the élan vital, the impulse or force that compels self-organization in matter and morphogenesis through time. Such a movement is an affair of life itself, the sifting apart of the organic from the inorganic, organization from base matter. By ascending up a cosmological hierarchy in order to enter into unending engagement with this force, the mark of the open society is life at its most creative.
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.