For Jünger, souls are judged according to their readiness to see an invisible war. Invisible war conjoins the immediacy of the front experience (Fronterlebnis) to a higher order of determination. Immolating fire is a communiqué that travels from an absolute remoteness to an essentialised closeness: causality is vertical, hierarchical and unilateral. An act on the front is the mirror of a determination within the invisible war. The station of a higher soul can be achieved through the intensification of this perception, which separates a reflective surface from a secret face.
You’re basically one of the leading thinkers of what we might call the school of thought that’s known as accelerationism. Accelerationism is something like the view that contemporary history is changing at an exponential rate, technologically and economically, and that this rate of change confounds nearly all of our traditional concepts for thinking about society and economics and politics. If someone on the street walked up to you and asked you “What is this whole accelerationism thing?” is there a kind of key essence or upshot that you would add to what I just said?
There is a blurry edge in all detective work that, as Borges too competently demonstrates, skirts a zig-zag threshold between apophenia and the truly canny connection of events that only appear, superficially, to be disconnected. In the name of a method that is closer to invocation than criticism, a reckless detective might refrain from determining exactly where an act of decryption lies on the ugly terrain of legitimacy and, proffering sanity as the stake, live up to the problem as it stands.
There is a short story by Jorge Luis Borges which details an elaborate game of geometrical entrapment. The game is at once a temporal and spatio-cartographic one. It is played over a period of four months, on the fourth of each month, across a series of cardinal coordinates: a hotel in the North, a paint factory in the West, a tavern in the East, and an abandoned villa in the water-logged southern outskirts of the story’s unidentified city.
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.
And so, we see that Caleb Bradham, in both inventing and branding Pepsi, invokes a tradition that stretches directly back to 16th 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”.
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.