Global flows destabilise both tradition and certainty in the same moment that they claim to produce the end of history, and gentrification erodes authenticity in the act of seeking to recreate it. The gardens of Boreham Mansion embody a similar tendency, where once the classicism of the Victorian era sought to obfuscate rapid and uncontrollable social change through its attempts to monumentally reinstantiate a rigidly hierarchical moral and social order.
Conversely, the pursuit of the kind of alien magics sought by the likes of James Boreham is impelled by an actively radicalising momentum: one in which the monstrous spectres of an incomprehensible past haunt the present with the possibility of a revolutionary reconceptualising of a dead-end future. This is not an attempt to establish a new kind of order out of chaos, but to refute and eradicate entirely and absolutely any further possibility of such limiting structural oppositions. This is the politics of absolute alterity, and of Those Who Wait; it is the politics embodied in the Horsingdon landscape: the politics of the Outside.