The word “culture” derives from the Latin “colere,” a verb to describe tending and developing agriculture. With the advent of capitalism’s division of labour, culture came both to embody instrumentalism and to abjure it, via the industrialisation of farming, on the one hand, and the cultivation of individual taste, on the other.

The great mystic of the eighteenth-century, the ardent disciple of Jakob Böhme — Louis Claude de Saint-Martin — used to say in the last years of his life: “I would have loved to meet more with those who guess at truths, for such alone are living men.”

Among the matters of most profound importance such as our distinct literary proposition to open access scholarly articles as an aesthetic medium, perhaps none is more fundamental than that which is concerned with weighing up and appraising the worth of our seventh anniversary in a spiritual inquiry fostered by confidence as to whether its cultural value is a definite quality conspicuous of continuation or a negative detachment from our proposed origins.

Truth be told, just because of the vigorous fondness elicited by the horror genre and the maddening acts that are depicted in it, to those sensitive to hideous misdemeanours, it is unthinkable not to discern that some justification or defence is needed. There are some obvious strategies for this, for example, raising the standards of “art for art’s sake,” or, by mere distinction, explicating the value of horror in its moral or educational value. Furthermore, there are also strategies bewitching to other categories of value, along the lines of Friedrich Wilhelm Nietzsche’s explanation of the value of calamity as a Dionysian rallying cry.

As William H. Sewell, a historian and cultural researcher eloquently once stated, the great paradox of contemporary and alternative cultural discourse is reflected in anthropology, the queen of the field, which invented the term culture, “or at least shaped it into something like its present form,” but because of a “severe identity crisis” viewed the question as to the nature of culture as being irrelevant.

In our bid to disrupt everyday assumptions, writings nowadays classed as “devilish” tend to trade in the unusual and the unexpected. Most of the articles we publish evoke an uncanny atmosphere; many portray extreme situations, and some include elements of surrealism. All in all, this historical and alternative cultural oddness has generated social comparisons with subversive, extreme and nihilistic art forms such as absurdist theatre, film noir, downhearted music, grimoire literature from ancient to contemporary alternative countercultures. Howbeit, so far very little has been written that refute society’s “devilish” argument if we examine the origins of the occult and its relationship with Christianity’s Cabala, and most importantly, why now?

Multilingualism is the most natural evolution which in recent years was made available to every press media through distinct mechanisms and forms of infrastructure, this rather than enduring as an unusual exception amongst those that limit themselves to monolingual concepts and pre-defined archaic designs. Certainly, it is only the environmental factors which may fail to present the opportunity to publish in another language other than English (or may we say; British English in our particular case). We are at heart, monolingual speakers, and eloquently paraphrasing an English teacher from some decades ago: “Given the appropriate environment, two languages are as normal as two lungs.”