Nathan Starr, “Negative Capability in Keats’s Diction” To Keats (negative capability) came to be interpreted not as an injunction to content oneself merely with objectivity, in the literal sense – a condition not only too restrictive but virtually impossible for a man of Keats’s temperament. It meant rather a great expansion of experience, an identification with the wide area envisage by Shakespeare, and a determination to see the individual in its proper relation to this vast field, so that personal difficulties could be subordinated. That this inevitably meant some surrender on the part of the individual goes without saying, but that was not the first consideration. This creed emphasized Keats’s concern with particulars outside himself, which inevitably caused a kind of tug-of-war between his inner and the outer world. His passion for the pehnomena of experience, his extraordinary perception of sensuous delights, led him to a kind of universal kinship not only with all beauty, but even with the vividly active elements in experience. This resulted in an empathy quite extraordinary, of a degree and intensity scarcely ever equalled by an English poet...he says “I feel more and more every day, as my imagination strengthens, that I do not live in this world alone but in a thousands worlds.” He fount it impossible to be a negatively capable poet completely, to be a spectator only, for the world was constantly with him whether in the form of exquistie delights, or obsessive suffering. Keats: “I never can feel certain of any truth but from a clear perception of its Beauty.” I have clung To nothing, lov’d a nothing, nothing seen Or felt but a great dream! (“Endymion”) Pain had no sting, and pleasure’s wreath no flower: O, why did ye not melt, and leave my sense Unhaunted quite of all but nothingness? (“Ode on Indolence”) Eugene Thacker, In the Dust of This Planet: Black Metal Theory First black can mean Satanism, which "is governed by a structure of opposition and inversion" (Thacker 2011, 12); this can be seen in the way that Satanic rituals are structured as the opposite of canonical Christian ones. Second black can mean Paganism, which is governed by a structure of "exclusion and alterity" (15); this can be seen in a difference or alternative to Christianity, in the form of polytheism or a valorization of nature, rather than a reaction against it. Third, and most important, black can mean Cosmic Pessimism, which consists of a "dark metaphysics of negation, nothingness, and the non-human" (20); in distinction to the first two kinds of black, Cosmic Pessimism can be seen as an attempt to think of the world before, beyond and after humanity, where "There is only the anonymous, impersonal 'in itself' of the world, indifferent to us as human beings, despite all we do to change, to shape, to improve, and even to save the world...Its limit-thought is the idea of absolute nothingness, unconsciously represented in the many popular media images of nuclear war, natural disasters, global pandemics, and the cataclysmic effects of climate change" (17). The best example that Thacker can find of Black Metal as Cosmic Pessimism is not a heavy metal act at all but Japanese experimental musician Keiji Haino's 1997 album So, Black is Myself, which features only Haino's voice and a tone recorder. What makes this record an example of Cosmic Pessimism is that "Sometimes the tone generator and Haino's voice merge into one, while at other times they diverge and become dissonant. Haino's voice itself spans the tonal spectrum, from nearly subharmonic chant to an uncanny falsetto perhaps produced only by starving banshees" (21).