Archive for August 21st, 2013

Abstract Horror (Part 1)

When conceived rigorously as a literary and cinematic craft, horror is indistinguishable from a singular task: to make an object of the unknown, as the unknown. Only in these terms can its essential accomplishments be estimated.

To isolate the abstract purpose of horror, therefore, does not require a supplementary philosophical operation. Horror defines itself through a pact with abstraction, of such primordial compulsion that disciplined metaphysics can only struggle, belatedly, to recapture it. Some sublime ‘thing’ — abstracted radically from what it is for us — belongs to horror long before reason sets out on its pursuit. Horror first encounters ‘that’ which philosophy eventually seeks to know.

High modernism in literature has been far less enthralled by the project of abstraction than its contemporary developments in the visual arts, or even in music. Reciprocally, abstraction in literature, as exemplified most markedly by the extremities of Miltonic darkness – whilst arguably ‘modern’ — is desynchronized by centuries from the climax of modernist experimentation. Abstraction in literary horror has coincided with, and even anticipated, philosophical explorations which the modernist aesthetic canon has been able to presuppose. Horror – under other names – has exceeded the modernist zenith in advance, and with an inverted historical orientation that reaches back to the “Old Night” of Greek mystery religion, into abysmal antiquity (and archaic abysses). Its abstraction is an excavation that progresses relentlessly into the deep past.

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August 21, 2013admin 22 Comments »
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